h
CIassX3EL24S~
Book > A 5
GopigMlsf0.
CQEtftlGHT DEPOSIT.
Scanned from the collections of
The Library of Congress
AUDIO-VISUAL CONSERVATION
at The LIBRARY of CONGRESS
- - X
■,!»■
Packard Campus
for Audio Visual Conservation
www.loc.gov/avconservation
*>v I
HffO^I
<} i&i r* a t*j
Magazine of the /Imateur Cinema League, Inc.
M&viMfc
>c
JANUARY, 193^
KEW, SPECTACULAR
m
JANUARY 1932
amen
. . . . FOR THE FILMO MODEL J PROJECTOR
Years of development work by lamp engineers have just been cul-
minated. The new 400-Watt Biplane Filament Lamp for the new
Filmo Model J Projector is now perfected and on the market.
Increased brilliance, plus uniform direct illumination on every frac-
tion of the screen area, are brought to 16 mm. projection by this
new lamp.
This important development means that improved quality is now
available to all 16 mm. films. Especially in Kodacolor projection
the superiority is marked, for the new lamp eliminates color wedg-
ing, lost color values, all color distortion.
The new 400-watt, 100-volt lamp has 8 filaments set in two stag-
gered rows like this *#*#*»*#• Thus intervals which formerly
were filled in by reflected light are now flooded with direct light.
The reflector behind fills in any minute interstices and further evens
out and strengthens the whole.
The use of the Biplane Filament Lamp is made practical by the com-
bination of highly efficient fan and aero-type cooling used exclu-
sively in the Filmo Model J Projector. The 400-watt lamp will be
supplied as regular equipment with the new Filmo Model JL Projec-
tor. Model J Projectors already in use can be equipped with this
lamp at a cost of only $6 for the lamp and $ 3 for resistance adjustment.
Vastly improved illumination is only one of the features which recom-
mend the Filmo Model JL Projector to you. Other distinctive ad-
vantages are: 100% gear drive — no belts, automatic geared rewind,
built-in pilot light, easy tilting, illuminated voltmeter, and radio
interference eliminator, together with true Bell & Howell scientific
design and precision construction which assure a long life of silent,
dependable operation.
Write for descriptive literature, and see a demonstration at your
Filmo dealer's. Bell & Howell Co., 1843 Larchmont Avenue, Chicago.
New York, Hollywood, London (B.&H.Co.,Ltd.) Established 1907.
FILM
^Personal Movie Cameras and Projectors
Made by Bell & Howell, the world's leading manufacturers of fin-
est quality professional and personal motion picture equipment.
5ffS\
This photographic view of the filaments
in the new 400-watt, 100-volt Biplane
Filament Lamp shows how the light fila-
ments are staggered to fill up all intervals
and give full direct illumination.
♦ ♦ ♦
The new Filmo Model JL Projector,
with 400-Watt Biplane Filament Lamp,
is priced at $298 complete with case.
Other Filmo Projectors for as low as
$198.
PROFESSIONAL RESULTS WITH AMATEUR EASE
H
MOVIE MAKERS
New Parallax Viewfinder
gives new efficiency to FILMO 75
p&~$
NOW, both effi-
ciency and
convenience of the
Filmo 7 5 Field
Model Camera are
greatly enhanced
by a new Parallax
Viewfinder.
This new unit gives
a brilliant view of the 20 mm. lens
picture area — an image approxi-
mately 3 times larger than that of the
regular built-in viewfinder. Detach-
ably mounted on the camera door,
near the top, it makes the camera
easy to operate without interference
from the user's hat. A simple inge-
nious slide device adjusts for dis-
tances from 2 feet to infinity, so that
the field area may always coincide
exactly with that of the lens. Detach-
ing from and attaching on the door
mounting is only a matter of seconds.
Or a special carry-
ing case is offered,
so that the view-
finder can be left
permanently
mounted.
The regular built-in
finder will of course
be continued. New
Filmo 75 Cameras may be purchased
with or without the Parallax finder.
Filmo 75 Cameras now in use can be
easily equipped with it, simply by
sending the camera in to the factory
or nearest branch to have a mounting
plate attached to the door. Prices:
Parallax Finder (including
mounting on your door) .... $ 15
New Filmo 75 complete
with Parallax Finder and
Special carrying case $ 1 1 8
Carrying Case for Filmo 7 5
with Parallax Finder $ 11
BELL & HOWELL
FILMO
Bell & Howell Co., 1843 Larchmont Ave., Chicago, 111., New
York, Hollywood, London (B & H Co., Ltd.) Est. 1907.
The B & H Combination Filter Set provides you
with two amber glass uniform filters, 2x and 4x,
in one convenient sliding selective mount so that
changing from one to the other is the work of a
split second. Also, it provides an amber glass
graduated filter, ranging from clear glass to 6x
density, which fits smoothly into the Duplex
holder. The whole meets every ordinary require-
ment for color correction with 1" f/3.5 Cooke
Universal Focus, or Focusing Mount lens for
Filmo 70. It comes in a convenient compact com-
partment case. Price, complete, $5.75.
The B & H Uniform Filters are for the many
scenes that require a general color correction.
They are offered in various densities for every
lens supplied for Filmo 70 and 75 Cameras. They
are of yellow dyed optical glass of excellent qual-
ity, and screw into the lenses — behind the sun-
shades of telephoto lenses and in place of the sun-
shades in standard lenses. Prices range from
$2.50 to $7.50.
'. z <*>
Z i
1 REG-
1 c
1 o
bJ
; b :;
: 6 3 ':
> 5 :
i s
l-ft "
1,5 \
■ il
■■"*!
- * i
- 2 t
?
; ~h
" T5
--A
"Est
The B & H Model
A Photometer for
movies is specially
calibrated for all
Filmo Cameras. It
allows you to get
scientifically correct
exposure readings in 10 seconds. Easy to operate
as a flashlight. Price, $17.50 (Case, $2.50).
The B & H Model B Photometer for still pho-
tography (scale shown above) duplicates for stills
the quick and accurate exposure readings that
the Model A gives for movies. It gives lens stop
readings at shutter speeds from 1 /250 second to
52 seconds and, in addition, gives readings for
filter factors and emulsion speeds. Price $17.50
($20 with case).
JANUARY 1932
>jke
CJialle4ta£,
or THE
N NEW YEAR
\
VICTOR CINE-PROJECTORS embody all latest
projection refinements and conveniences. Ask
about the new QUIET MODEL 7 with 300-WATT
"No Resistance" Lamp.
LET YOUR
Distributed by
NATIONAL THEATRE SUPPLY CO.
Branches in All Principal Cities
H
ERE is a challenge for those who want to know why it should
be a Victor.
Look at the equipment. Handle it. Operate it yourself.
There is something about its quiet, balanced beauty that arouses
the natural instincts of the picture enthusiast. The urge to try it is ir-
resistible.
The infinite precision of its mechanism is the true secret of its su-
perlative performance. Skillful designing and ingenious simplification
have placed VICTOR beyond competition.
Many of the distinguishing features of Victor Equipments are out-
standing improvements that are of vital importance to the user . . .
patented improvements that are not to be had in any other make of
equipment at any price! Ask today to see a VICTOR.
Manufactured by
VICTOR ANIMATOGRAPH CORPORATION
DAVENPORT, IOWA
DEALER DEMONSTRATE
VICTOR CINE-CAMERAS
(left) are built in two mod-
els— the popular Model 3,
with single lens and 3
speeds; the Model 5, with
Visual Focusing, 5 Speeds
and 3 lens turret.
<&
The ANIMATOPHONE
TALKING Projector (right)
is the acknowledged peer of
all 16mm. Sound Projectors.
Many exclusive features.
Printed by W.N.U., New York
©C1B 139730
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII January, 1932 Number 1
/
Cover design Lloyd Coe
Featured releases for home and school 7
Loyalty, editorial 9
"Clear and colder", photograph 10
The clinic Russell C. Holslag 11
Let us be clear Paul D. Hugon 12
Now they can be filmed Sidney C. Hay ward 13
Microcinematography simplified Alan C. Wooley 14
Ski shooting John W. McCrillis 15
Keys to editing Howard Desmond 16
Heading south? James W. Moore 17
Amateur clubs Arthur L. Gale 18
"Nearer to the heart's desire" W . H. Dodge 19
Educational films Louis Miller Bailey 20
Titles that titillate E. F. Tuttle, Jr. 21
News of the industry 27
Closeups James W . Moore 35
Free films 37
Around the world with Movie Makers 39, 40, 41
MOVIE MAKERS is published monthly in New York,
N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign
$3.50) ; to members of the Amateur Cinema League, Inc., $2.00 a year,
postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August
3, 1927, at the Post Office at New York, N. Y., under the Act of
March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and
Publication office: 105 West 40th Street, New York, N. Y.
Telephone PEnnsylvania 6-6836. Advertising rates on application.
Forms close on 10th of preceding month.
KATHERINE L. NOONE Advertising Manager
ARTHUR L. GALE Continuity and Club Editor
RUSSELL C. HOLSLAG .Technical Editor
LOUIS M. BAILEY Editorial Assistant
ALEXANDER de CANEDO Art Editor
Editor
JOHN BEARDSLEE CARRIGAN
JANUARY 1932
For Canada Only!
A
SPECIAL
OFFER
We want the names of Canadian movie ama-
teurs. . . .
We want to know what movie equipment — make
and model — they are using, and how long they
have been taking movies. . . .
And, in keeping with our policy of frankness and
fair dealing, we want them to know that the
submission of their names means that they
are willing to be given special and definite in-
formation about all amateur movie equipment
which we have for sale.
In return, we shall be happy to send each one a
token of our appreciation which will be found
practical and typical of the honest service of our
house in its future relations with them.
We limit this offer to CANADA because it is our
ambition to serve, from this fully stored depot of
amateur movie supplies, all amateurs in the Do-
minion.
We promise to maintain a line of products fine
in quality and regularly priced. Those dealing
with us may look for a quality of service second
to none.
RECINA PHOTO SUPPLY LIMITED
1924 Rose Street
RECINA
SASK.
Drop a line to BASS
Here is the Bell &
Howell Model J single
claw, or Model L with
double claw intermittent,
projector and priced
complete with new type
case at only $297.00.
Kodacolor, $35.00 extra.
LET'S SWAP! You want the new Bell & Howell
Filmo Projector Model J ! The crowning achieve-
ment of the master cine machinery builders.
Bass . . . international camera trader . . . will
make it possible for you to own this fine instru-
ment. E-A-S-Y! Your old projector taken in
exchange at a liberal allowance.
Geared takeup, automatic internal rewind, re-
verse, still- projection, amazing large sharp lens,
powerful light, homogeneity of mechanical opera-
tion which will please you.
Send for a copy of the new Bell & Howell Catalog
and the Bass Bargaingram . . . apparatus to
gladden the heart of amateur and professional.
And remember your old camera or projector are
worth money. Write to trading headquarters.
Bass Camera Co., 179 W. Madison St.
Chicago, U. S. A.
Please send me at once your latest Filmo
Catalog and flargaingram.
Name
Address
City
I want to trade
BASS
CAMERA COMPANY
179 W. Madison Street
CHICAGO
Featured releases
for home and school
■ This department is for the convenience oj
readers in guiding them to library films an-
nounced in this issue. These films, in the mam,
have not been examined by Movie Makers.
■ Bell & Howell Co,. Chicago. A large num-
ber of talkie subjects, each supplied with one
disk, have been added to the Filmo Library.
Pathe subjects, each one 400 foot reel, are Let
'Er Buck, Sportlight; Snowtime, Aesop's Fable;
Love That Kills, Vagabond Adventures; Love's
Memories, Song Sketch. 400 foot Pathegrams
for the children are the Aesop's Fables, Red
Riding Hood and Toy Town Tale and the Hast-
ings Marionette film, Santa's Toy Shop. Uni-
versal offerings are the features, Undertow,
Dames Ahoy and Hide Out, each a six reeler;
the one reel Oswald Cartoons, The Detective,
The Fowl Ball, The Navy and Mexico, all fea-
turing the Lucky Rabbit. Pilgrim Papas, one
reel, a Special; Mardi Gras, two reels, of The
Leather Pushers; All Excited, two reels, a
Featurette; Hallowe'en, two reels, of the Sporting
Youth Series; Splash Mates, two reels, of The
Collegians; and the Universal comedy^ Brother
For Sale, are also offered. Twenty one miscel-
laneous subjects are offered as well as the fol-
lowing Columbia one reel releases: Falling Stars,
The Gay Caballero and The Harmony Club.
B Eastin Feature Films, Galesburg, 111. The
Pilatus Railway, 100 feet, 16 mm., is the title
of a new release. Jack And The Beanstock,
Geysers And Hot Springs and Scenic Grandeurs
Of The Yellowstone are listed among other sub-
jects in a descriptive catalog now available.
| Eastman Kodak Co., Rochester, N. Y. The
Cinegraphs offered by this library, including ad-
venture, natural history, animated model and
cartoon. World War, comedy, travel, sport and
general subjects, provide a wide range of splen-
did film fare. A new catalog is available.
B Empire Safety Film Co., N. Y C Educa-
tional, sc-nic and sport films are listed in the
catalog of this company, available upon request.
9 Haselton, Guy D., Hollywood. On The
Waves At Waikiki, 150 feet, is featured by this
library. Combining photographic beauty and lots
of fast action, this water sport film is of unusual
interest.
H Hemenway Film Co., Boston, Mass., Depict-
ing the life of Christ, The Passion Play, de-
scribed as more elaborate than the Oberammergau
spectacle, is available in five reels.
| Holmes Lectures, Burton, Inc., Chicago.
The travel films of this famous lecturer are
offered as ideal for inclusion in the home pro-
gram. An illustrated catalog is available.
B Kodascope Libraries, Inc., N. Y. C. The
Coming Of Amos, a DeMille feature picture with
Rod LaRocque, Noah Beery and Jetta Goudal,
is offered for this month. 500 other subjects
are listed in this library which has branches
throughout the U. S. and Canada. A catalog
is available.
| Pathegrams, Inc., N. Y. C. Releasing both
9.5 and 16 mm. sound and silent subjects, this
library announces sound films in these series:
Pathe News, Pathe Audio Reviews, Pathe Fea-
tures, Aesop's Fables, Grant/and Rice Sportlighls,
Vagabond Series and Two Reel Comedies.
■ Reynolds, Ernest, M., Cleveland, Ohio. The
Big Step, unique canal lock pictures; Intimate
Views Of Cleveland and Miami, Florida, The
Magic City, are especially emphasized this month.
Pixy Pictures, designed especially for children,
are available in twenty five foot lengths. The
Gold Seal Catalog, listing all Reynolds sub-
jects, is free for the asking.
AMPRO
Gives more and
costs less
MOVIE MAKERS
EQUIPMENT FOR SALE
| READY and waiting- . . . Bass Bargaingram
No. 208. Nineteen pages crammed full of bar-
grains. Save money. A few offers from this
money saving list: new DeVry Model G pro-
jectors with cases at $45.00; new Risdon 16
mm. cameras, 3.5 lens at $22.50; Bell &
Howell Filmo 70A with case and Cooke lens,
$77.50; Victor Model 3, regular and slow motion,
with lens, $65.00. Write or wire for your copy
at once. BASS CAMERA COMPANY, 179 W.
Madison St., Chicago, 111.
■ ATTENTION DEALERS, LIBRARY
OWNERS AND MOVIE FANS. We have
arranged with one of the largest producers
in the country for NEW RELEASES OF
COMEDIES not heretofore available in 16
mm., featuring Lloyd Hamilton, Al St. John,
Larry Semon and Lupino Lane. New Felix
Cartoons and Cameo Comedies. These are
one and two reel comedies. Send for lists
and prices. Model B. Kodascope, listing at
$275.00, sale price $150.00; DeVry Model G
projector, $35.00; Kodatoy, $9.00. Send for our
list of one hundred ft. Chaplin and travel films
at $3.50. Bargains in screens: Eastman 1-A,
30x40, list $12.00, sale price, $5.00; Arrow,
30x40, sale price, $3.50; Special Beaded, 21x30,
sale price, $2.00; No. 0 Kodascope, 22x30, list
$8.00, sale price, $3.00; No. 2 Kodascope Alum-
inum Roll, 39x52, list $27.50, sale price, $10.00;
Kodacarte combination table & screen, list $30.00,
sale price, $15.00. STARKWEATHER &
WILLIAMS, INC., 47 Exchange Place, Provi-
dence, R. I.
■ 16 MM. Mod. C. Cine-Nizo, slightly used,
variable speeds, motor and hand cranks, focusing
directly on film, case and //2 lens, $85. BUR-
LEIGH BROOKS, 127 W. 42nd St., N. Y. City.
■ FOR SALE— Model B Cine-Kodak, 3.5 lens,
reconditioned, like new, new case ($83.50), net
$49.50; Model B Cine-Kodak, 1.9 lens, recon-
ditioned, fine shape, leather case ($161.00), net
$89.50; Model BB Cine-Kodak, 1.9 lens, new,
brown leather with new case ($140.00), net
$97.50; Model A Kodascope ($180.00), used,
mechanically perfect, net $87.50; Filmo 3.5 lens
and brown leather case, used ($175.00), fair to
good visual condition, perfect mechanically, net
$79.50. Money back if not as represented.
WHEELER'S PHARMACY, INC., Springfield,
Vt.
| SELECTED 16 mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ PHOTOLAMPS— Portable, continuous burn-
ing twin arc; uses 6 mm. carbons, D. C. or
A. C, 10 amperes, 115 volts. Arc starts by
touching button at rear. De luxe model, nickel
plated, dull finish, $9.50. Black enameled,
$8.25. Black enameled parts, ready to assemble,
$7.50. A. F. JOHNSON, 6136 Liebig Ave.,
N. Y. City.
■ NEW VICTOR model 3-G projector, regular
$187.50 for $150.00. Sound films for sale and
rent. Get our bargain list. JONES HDWE. CO.,
Movie Dept., Shamokin, Pa.
■ SPECIAL VALUE— A few absolutely new
DeVry 200 watt projectors, complete with carry-
ing case, reel and light cord. This projector
formerly sold for $105.00, complete. We are
offering this outstanding buy at this time, while
they last, for $39.50, complete. We also have a
very fine 16 mm. rental film library, both in
sound and silent. Write us for Rental Library
Catalog. W. W. KIMBALL COMPANY, 31 East
Jackson Blvd., Chicago, Illinois.
■ BARGAINS: 2 Model A Kodascopes with
cases, used as demonstrators, guaranteed, list
$195.00, now $99.50 each. LORD OPTICAL CO.,
704 Main St., Ft. Worth, Texas.
■ 16 mm. FILMS, $4.75. HOME TALKIE
UNIT, $15.00. Panchromatic reversible film, 100
ft., $4.50. Projectors, cameras, cheap. Free lists.
HOME MOVIES, Box 32, Easton, Pa.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOD CINEMA STUDIOS, 1608 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
■ KODAK MODEL B, //3.5, almost brand
new. Price $30.00. CINE CLASSIC LIBRARY,
1041 Jefferson Ave., Brooklyn, N. Y.
■ ONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatory for 400 ft.
reels. Sent direct only. A. C. HAYDEN CO.,
Brockton, Mass.
■ FOR SALE. Victor 3 speed 16 mm. camera
with Wollensak //1.5 lens, Hayden audible
footage meter. Bargain at $100 (cost $160.)
for amateur wanting camera of unusual scope.
R. E. OAKES, Waukesha, Wisconsin.
Classified advertising
| 10c a word, minimum cost $2.00. Published by
Movie Makers without responsibility for state-
ments. Make remittajices to advertisers, not to
Movie Makers.
| SACRIFICE — Cine Ansco 16 mm. camera with
case; //3.5 lens; purchased new April, 1931;
Perfect condition, $75.00. G. W. GLAZIER,
1104 57th Avenue, Oakland, Calif.
| HAVE nineteen rolls 100 ft. panchromatic
films. Expiration date June, 1932. Will sell
for $3.00 each. Reason for selling, desire use
only new supersensitive panchromatic. Write
J. HOLMES, Room 3501, 122 E. 42nd St., N. Y.
| 16 mm. MOVIE cameras and projectors. For
the home, school, church and business organiza-
tion. Literature free. D. F. ELDER & COM-
PANY, Dept. 13, Chelsea, Mass.
■ SIXTY DOLLARS ALLOWANCE for your
model C Kodascope on a brand new Eastman
model K projector or on a brand new model B
self threading Kodascope listing temporarily at
$175.00. $60.00 allowance for your old model
B //3.5 Cine-Kodak on a brand new model K
Cine-Kodak with //1.9 lens. Liberal allowances
for your still or movie equipment on anything
photographic. NATIONAL CAMERA EX-
CHANGE, 5 So. 5th St., Minneapolis, Minn.
■ TITLE EQUIPMENT— B. & H. title writer,
$20.00; Sewah title outfit, $10.00; Magnetic
letter title board, $5.00. W. L. HOLMES, JR.,
409 Shoemaker Road, Elkins Park, Pa.
■ CINE-KODAK, late Model B, //3.5 lens.
Looks, runs like new. (Cost $100.00.) Our
price, only $49.75. Victor 16 mm. Camera,
Model 3-T. Turret front for three lenses.
Equipped with 25 mm. //3.5 Wollensak lens in
focusing mount. Three speeds of exposure:
Eight, sixteen, sixty four frames per second.
Splendid condition. (Cost $172.50.) Worth 50%
more than we are asking — our price only $79.75.
16 mm. films, equipment accepted in trade.
EASTIN FEATURE FILMS, Galesburg, 111.
■ ONE (1) BELL & HOWELL, 200 watt Filmo
Projector with two condensers, extra lamp, one
400 ft. reel and carrying case, $75.00. FRANK
ARNOLD, 2023 Lincoln Ave., Chicago, III.
■ AFTER INVENTORY BARGAINS. Ica
Kinamo S-10 camera and case, $40.00; Victor
Model 3 camera, //3.5 lens and case, $75.00;
Cine Ansco camera, //3.5 lens, $55.00; Ensign
Auto-Kinecam, //2.6 lens and case, $60.00;
Filmo Model 70A //3.5 lens and case, $80.00;
B & H Filmo Projector, 200 watt round base,
$85.00; B & H Filmo Projector, 250 watt, vari-
able resistance and ammeter, oval base, $125.00;
Ampro Model A, black finish, $100.00; Ampro
Model E DeLuxe for A. C. or D. C. $140.00;
Schneider 1" //2 lens in focusing mount, $12.00;
Goerz 15 mm. //2.7 Hypar in focusing mount,
$25.00; Cinar 1" //2.6 lens in focusing mount,
$10.00; Carl Zeiss 4^4" //6.3 Tele-Tessar in
focusing mount, $35.00; Wollensak 2" //3.5
Velostigmat in focusing mount, $14.50; Wollen-
sak ZVa" f/3.3 telephoto in focusing mount,
$30.00; WILLOUGHBYS, 110 W. 32nd St., N.Y.
| USED Stineman 16 mm. printer and 100 ft.
developing outfit. E. A. GARDNER, Box 547,
Rochester, N. Y.
■ WANTED — 16 mm library films, whole li-
braries and single films, lenses, etc. J. B.
HADAWAY, Swampscott, Mass.
MISCELLANEOUS
| TRICK or plain titles to order. Any text.
Quarter per foot. HUNTER, 921 Edgewood
Road, Elizabeth, N. J.
■ 16 mm. TITLES 2% cents per word. Re-
quest literature, samples and receive the end
title free. NOVEL CINE TITLES, 647
Franklin Ave., Council Bluffs, Iowa.
| TITLES 25 cents and up. Now movie makers
can have 16 mm. World Wide Titles for their
films. Send for illustrated folder. WORLD
WIDE TITLE SERVICE, 113 Midland,
Kearny, N. J.
FILMS WANTED
■ WILL BUY or exchange used 16 mm. sub-
jects at nominal rates. Drop me a line and
mention what you have to offer. S. B. HOBBS,
190 Goden St., Belmont, Mass.
■ WE BUY good 16 mm. films. What have you?
Advise titles, length, producer and price wanted.
KENT D. EASTIN, Galesburg, Illinois.
■ WANTED — 16 mm. travel and scenic films.
Must be cheap. State price and titles. BOX 131
Movie Makers.
FILMS FOR RENTAL OR SALE
■ CRISTUS, the best motion picture version of
the .life of Christ. In seven parts, $200,00.
Others. Direct or through your dealer. ARC
FILM CO., 630 9th Ave., New York City.
■ PIXY PICTURES, 16 mm. short subjects (25
feet) complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
■ 16 mm. SPECIALS! New pictures, 100',
$3.65. Lists. Supersensitive negative, 100', $6.00;
regular panchromatic, $4.75. Titles, air brushed
backgrounds, 3c word; minimum 25c. Samples.
LORENZ FILM PRODUCTIONS, Madison, Ind.
■ FOR SALE. New and used 16 mm. sound
films. Send for list. PITMAN HOMOVIE
SERVICE, 45 Summit Ave., Salem, Mass.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE.
EXCHANGE PRICES
400' reel $1.00
200' " .50
100' " .25
On the 100' and 200' reels add return postage.
EVERY REEL SENT OUT CARRIES A
GUARANTEE OF 100% SATISFACTION.
QUALITY HAS NO SUBSTITUTE
CINE CLASSIC LIBRARY,
1041 Jefferson Ave.,
Brooklyn, N. Y.
PERSONAL OPPORTUNITIES
■ YOUR PHOTOGRAPHS ARE WORTH
money. Newspapers and magazines pay good
prices for pictures. Our new plan shows you
what photographs to take — helps you sell them.
Thousands of interesting subjects everywhere.
Always a ready market. Free book gives full
details. A wide open field for making extra
money. Write today. UNIVERSAL PHOTOG-
RAPHERS, Dept. 3, 10 West 33rd St., N. Y.
■ TRAVELING salesman wanted for Middle
West by large manufacturer. Salary and com-
mission. Good opportunity. Letter must have
facts regarding exoerience. BOX 130, Movie
Makers.
JANUARY 1932
k+*k+*k**k++k++k++k+*k++k++k++k*+k+*k+*k+*k+*k+*k++k++k++k+*k++k++k+*k+*k+*k+*k++k+
MR. DEALER:
from PATHEGRAMS, Inc.
comes this
$app?
Jleto §9ear
message to you:
A New Price
on Ittmni. Sound Film and Disc
of ^30 per reel^ retail
And your customers will enjoy
a Happy New Year when you offer them
rentals from the Patheyrawn Library
of hundreds of reels3 ineludiny:
22 Pathe Features, 32 Two Reel Comedies
16 Vagabond Adventures, 46 Aesop Fable Cartoons
41 Grantland Rice Sportlights, Song Series and the famous Knute Rockne Football Talkies.
Dealers: Write us for discounts
PATHEGRAMS, IllC. 35 W. 45th Street, New York, N. Y.
* k+* k* + k++ k* + k~**"k* + k + + k*~~+~'k + + k + + k++ k** k*+ k + + k** k++ k+ + l** k**^**^** k++ k~++ k'** k'** k+* k+* k+
m ♦ ♦ Y **Y ♦♦ Y ♦♦T* + T** T ♦♦T**T**T>*T + *T ♦ ♦Y ♦♦Y**Y ♦ ♦Y>* Y ♦■♦Y* + T**Y ♦♦! ♦ ■*" ♦♦Y ♦♦T**T* + T*,*T + *T*
THE AMATEUR CINEMA
LEAGUE, INC,
whose voice is Movie Makers, is the
international organization of movie ama-
teurs, founded in 1926 and now spreading
over more than fifty countries.
The League's consulting services advise
amateurs on plan and execution of their
films, both as to photographic technique
and continuity. It serves the amateur
clubs of the world in organization, con-
duct and program and maintains for them
a film exchange. It issues bulletins.
The League completely owns and oper-
ates Movie Makers.
The directors listed below are a sufficient
warrant of the high type of our associa-
tion. Your membership is invited.
DIRECTORS OF THE LEAGUE
President
HIRAM PERCY MAXIM
Hartford, Conn.
Vice President
STEPHEN F. VOORHEES
New York City
Treasurer
A. A. HEBERT
Hartford, Conn.
C. R. DOOLEY
New York City
MRS. L. S. GALVIN
Lima, Ohio
LEE F. HANMER
New York City
W. E. KIDDER
Kalamazoo, Mich.
FLOYD L. VANDERPOEL
Litchfield, Conn.
T. A. WILLARD
Beverly Hills, Calif.
Managing Director
ROY W. WINTON
New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc
105 W. 40th Street, New York, N. Y., U. S. A,
A N organization like the Amateur Cinema League, designed for practical
^mL and definite service and unprovided with the more picturesque phases
f ^ of many associations, such as emblems, annual conventions, local
chapters and periodic competitions for honors, can run on for years without
anything like a test of the loyalty of its adherents, other than that indicated
in the annual membership renewals.
But, when tests are presented by means of some automatic process intended
for other purposes, an organization is able to gauge the quality of its member-
ship. Such a test has just been offered to the Amateur Cinema League and it
has come both from League members and from MOVIE MAKERS subscribers.
Desiring and frankly asking for assistance from MOVIE MAKERS supporters
in assembling data that might be used by this magazine in selling its advertising
space, a questionnaire was sent out to every one of its known readers. Unfor-
tunately, this questionnaire blank did not readily fit the return envelope
that was provided with it, imposing a totally unjustified chore upon those
answering it.
The League's headquarters had been informed that it might reasonably
look for a ten percent return from a questionnaire of the size and complexity
of that sent out; it was learned that twenty percent would be very high. At
the time of this writing, two weeks have gone by since the first completed
blank was received at the League office, allowing no opportunity for replies
from anywhere except the North American continent. The percentage is
already over thirty four and blanks are arriving at the rate of more than
fifty a day. No courtesy gift was promised for a reply, as is sometimes done,
the blank was complex, calling for real attention and care, and it did not fit
the return envelope.
Here is loyalty! The League's administration is very proud, of course, but
it has an even more serious emotion in that it realizes the heavy responsibility
laid upon it to serve these members and these subscribers who will so definitely
give of their time to help the Amateur Cinema League. This is an inadequate
attempt to offer formal and sincere thanks to all of you who were so finely
helpful. Every effort will be made to bring from your generous contribution
the results that we all want in the way of a great future for the develop-
ment of amateur movies. Quite certainly, you will be served more effec-
tively by the League because of the added knowledge that the League has
of your problems coming from the questionnaire that you have answered.
193 2
Loyalty
10
Ewing Galloway
u^ 24 1931/
M O V I
11
MAKERS
Technical reviews
for the amateur
cinematographer
"Clear and colder"
Winter Shadows MA dazzling white
expanse of snow un-
der the winter sunshine forms a perfect
reflector, created by nature. It is usually
necessary to be careful to avoid flare from
the brilliant light above but, with the snow
on the ground, flare which may come from
below must be safeguarded against as well.
It should be remembered that the image on the film is produced solely by re-
flected light and care be taken not to overexpose. On sunny days, stops of //8
to //16 are in order. If there are shadows on the snow and detail in these is
desired, the best recourse is in the use of a filter; otherwise, the brilliant light
reflected from the snow is apt to cause these shadows to "block up." A 2X
or a 4X filter used for "pan" snow scenes will result in improvement. The
League's technical department has a filter chart which will be sent on request.
Snowshooting ■ Thanks to the fast emulsions now available, it is possible
to capture a bit of nature's mood even on the grayest of
winter days. A flaky snowstorm forms a delightful bit of seasonable anima-
tion for a film. But care should be taken to shield the lens so that none of
the wet flakes fall on or are blown against it. The snow crystal will melt as it
touches the glass and a "blob" will result instead of a picture. Snowstorm
scenes will appear more natural if the shot is made with the camera under
some sort of shelter so that no snow can actually fall close to the lens.
Crystal images ■ In shooting the snow man, remember that this temporary
and artistic bit of winter statuary reflects a lot of light
because of its predominating color. The camera had better not be held in such
a way that the light will strike with a flat effect full in the snow man's face,
else he may have a very blank, washed out expression in the resulting picture.
Shift the camera viewpoint so that the sun lights him up from the side. Then a
nicely modeled portrait will be recorded.
Random shots ■ ^ne animated title map, described in the February, 1931,
issue on page 101, seems to be a popular form of cine-
matic indoor sport. In such titles, there are always dotted lines which appear,
dot by dot, marking out the journey, an effective and easy form of animation.
For those to whom the manual multiplying of dots is a nuisance, we recom-
mend the clever idea of League member Ernest H. Weeks. He simply punched
the dots out of black paper with an office punch and pasted them, one by
one, along their path on the title. ■ Speaking of titles, remember that the
small title making attachments now available are surprisingly well adapted to
fulfilling other than their nominal functions. The very close closeup is easily
achieved with one of these little devices; simply fold the titling easel out of the
way and arrange to have the object take its place, exactly in the same plane.
Closeups such as those of a hand striking a match, holding a lighted cigarette,
or a thousand other subjects can be made in this way and later interpolated in
the film. ■ Those who are so fortunate as to own two projectors rejoice in
possessing the best means for an evening of smooth projection. In working
two machines, not only may one be threaded while the other is running so that
delays are avoided, but a multiple reel film may be projected without a
"break." To accomplish this, a simple changeover may be devised, by means of
which the lens of one projector is uncovered while that of the other is cut off.
The simplest changeover consists of a dowser, manually operated, attached to
each machine. The value of a changeover signal, incorporated in the last
part of the film, has already been emphasized in the November, 1931, issue,
page 617. League member George W. Cushman now writes, "I have marked
all my reels with changeover signals and they work perfectly. Audiences com-
pliment me upon my 'slick changeovers.' "
Cinematic Vest H When the more advanced and better equipped amateur
goes shooting, he usually has to carry either a heavy
camera case for auxiliary lenses, filters, meters, etc., or else try to cram them
into the pockets of ordinary clothes, sometimes to the detriment of pockets
and gadgets as well. Irked by this necessity, [Continued on page 36]
12
H. Armstrong Roberts
Convincingness of a
scene depends on its
details being right
PAUL D
H U C O N
Let us be clear
IF THE sole result of originality in treatment or photography is to have the
spectators ask, "What is it all about?" the effect is like that of a joke that
has to be explained. A film, like a novel, a business letter or a speech, is a
two sided medal; on one side it bears the word / and on the other the word
You. Neither speaker alone nor listener alone is sufficient to oratory, neither
writer nor reader to literature, neither producer nor spectator to a good film.
All works of art are an interchange of thought and feeling between two parties,
be the medium voice, ink, colors, marble or photography. The front and back
of the medal must be of the same size.
The first duty of the one who seeks to put a message across is to succeed in
making his purpose clear. True, what is clear to one group of people may be
obscure to another. But there are rough limits within which any group may be
made to understand and the artist who disregards them and seeks only to
please himself has hardly the right to complain if he succeeds in displeasing
all others.
Because a film must make clear who are the people concerned, their rela-
tionship to one another and to their environment, as well as the situation which
is to develop into a plot, it must begin with a certain amount of what is
called, in literature, expository material. Even a fast plunge into action with
the rise of the curtain has to be followed by an explanation. We want to know
who these two men are whom we see together, whether brothers, business
associates, employer and employee, rivals in love or strangers meeting for the
first time. We try to discover whether the room in which we find them is their
home, that of one of them only or a third party's and we are on the lookout
for every act or gesture that will cast a light on these riddles. A formal fare-
well or a handshake, offering or accepting a cigar, opening a cabinet or watch-
ing the other man do it — these are some of the most common signs whereby
we judge of their relationship. This point is true of personality films and
general amateur pictures as well as of photoplays. Because we are waiting
for this acted explanation, it should never be long delayed and the beginning
of a film will contain proportionately more of this type of expository material
than the end. The producer will try to make sure that he has properly
"planted" every character, every location, every situation. If he is in the least
doubt, he has an easy remedy; let him project the picture before compara-
tive strangers unfamiliar with the story; let him stop the machine after 100
feet and ask the spectators what they have understood so far. That is an acid
test which all productions should stand. It might well be repeated every 100
feet or so throughout. The same test can be applied to nondramatic pictures.
It does not follow that all the characters and all the problems should be
mechanically introduced in quick succession. On the contrary, if we can
carry the action forward for a while so that the spectators become accustomed
to the people already introduced before making the acquaintances of others, it
will be all the easier to follow the story. Complying with the dramatic law of
economy of attention, there is no limit to the number of characters we may
present, provided we give the audience time to "digest" each in turn.
Very different, however, is the expository method of literature from that of
motion pictures, which is perhaps one reason why some film productions made
by college men have been so notably lacking in the right kind of expository
material. A picture of any kind, a simple photograph, contains hundreds,
thousands, of individual elements. One glance at it reveals as much as a long
printed paragraph — often as much as a whole chapter. So complete and rapid
is that impression that the spectator is seldom conscious of its expository
nature. As far as he is concerned, the effect is selfproduced. But the producer
cannot take any such thing for granted. Those thousand and one details that
go to make a setting, a costume, a facial expression, a gesture — they do not just
happen. They have to be planned, created. They have to be put into the
continuity just as deliberately as the expository paragraphs of fiction. Con-
tinuity writing, if it includes the complete
plotting of scenes in all their details, is an
admirable school of observation. Any one
can verify this by trying to jot down from
memory every detail, from ceiling decora-
tion to knicknacks, of the room with which
he is most familiar. Almost certainly he
will leave out [Continued on page 38]
An explanation of
expository material
and the need for it
13
Now they can be filmed
SIDNEY C. HAYWARD
How to plan indoor
sport ree
easy w
Is, made
th ''Super
n
SPORTS offer one of the best fields of
activity for the amateur cameraman.
Every movie maker has probably
tried filming at least one type of outdoor
athletics but, while it has been admitted
that indoor sports are just as interesting
from the viewpoint of spectator and that
they offer as many camera possibilities,
they have hardly been considered because of difficulties in lighting. The new
supersensitive film has changed all this and has opened up indoor sport filming
to the amateur movie maker. Because of the popularity of basketball and
hockey in New England colleges, an attempt was made last year to film these
sports. Even with the fastest lens available, nothing but a formless blur could
be secured. The same group is making similar pictures this year, securing
much different results.
Choose the sport of the indoor winter season that is of most interest.
Hockey, handball, basketball, fencing, swimming, water polo, track, gym,
squash, badminton, boxing and wrestling arc all possible subjects for the
amateur movie camera. Very few amateurs have covered any of them well as
yet and several of them have never been adequately filmed even by profes-
sionals, for they are almost all typical amateur subjects, having enormous
attraction for specialized audiences but with considerably less appeal for the
general theatergoer. An amateur cameraman interested in these subjects
has the opportunity to open a new field of filming. The few suggestions for
continuity and treatment that follow are very general, to allow for varying
conditions, but they reveal the considerable possibilities in this new phase of
amateur movie activity.
Hockey is a good action subject with great interest possibilities on the
home screen. The first shot could be made as the teams come on the ice. The
two goalies will be the target for pre game practice. Make shots of them and
of the fast skating players as they sweep in to get off their shots. The referee
skates to the center of the ice for the face off. The substitutes retire to their
respective boxes. All of this should be taken and the scene of the referee as
he drops the puck for the first play of the game should not be missed. Almost
everything in a fast hockey contest is worth filming, but the sweep of a
forward line down the ice, crashing into the defence and getting off a shot at
the goal, which may be parried by the goalie or may go in for a score, is the
thing which will look best on a screen. There is a sweeping rhythm in hockey
which can be sensed at once. This is what should be caught during the actual
playing time. Speed and grace are the very essence of skating. So, even if
an important play is missed, shots of a fast moving player will be interesting.
The spills are the most exciting shots, of course, and, by following the speeding
offensive line, the camera will be sure to catch collisions and falls as the
wings and center hit the defense. Don't neglect a shot of the ice cleaners
between the periods. They have a grace of movement all their own and the
scene will also inject a note of humor into the film.
Basketball may prove to be the indoor sport of greatest interest for movie
enthusiasts. Here, again, the rapidity of movement of play from one end of
the court to the other is a thing offering excellent opportunity for filming.
Like hockey, basketball requires speed and this, combined with the skill
necessary to success in throwing the ball through the baskets, can cer-
tainly be filmed to good advantage. Continuity for a basketball movie should
include, first of all, a shot of the players and officials lining up for the first
tap. It is suggested that no attempt be made to follow the ball by panoraming.
Its flight is often so unexpected and rapid that the results of a panoram would
be particularly poor. Foul shooting is another item to be included in a film.
Since the watchful movie maker has plenty of warning before the action takes
place, he may, when the light is unusually good, try a semislow motion shot.
In any case, he has time in which to plan the angle of the scene or to make
use of a telephoto lens. The entrance of a substitute into the game makes
another good shot. An occasional picture of the score board may be used, as
in football, to tell of the progress of the game and even as the central con-
tinuity motif of the whole film. Many of the general continuity suggestions
offered for football in recent issues of Movie Makers may be applied to
basketball. The picture could begin with scenes [Continued on page 24]
Even the fast plays
of basketball can
now be recorded
Keystone
Microcinernatography simplified
ALAN C. WOOLEY
14
These spores create
a moving design when
shown on the screen
Herbert C. McKay
Needed equipment
can be found in the
average laboratory
THE old saw, "Necessity is the
mother of invention," is responsible
for many hodgepodge contraptions
that somehow work. Equally true is the
saying, "Ignorance is bliss," as many in-
dividuals well versed in a technical sub-
ject may overlook simple ideas because
of advanced knowledge of complicated
theories and arrangements at their disposal, which make the subject involved.
When it became necessary to make a microscopic motion picture because
of a signed contract and new and specialized equipment could not be pur-
chased because of reasons well known to the majority of amateur movie
makers, a suitable microcinematographic apparatus was constructed from a home
movie camera and the apparatus found in the average laboratory. This simple
equipment (Figure 1, page 30), consisting of a 16mm. camera (A), binocular
microscope (B), a 500 watt spotlight (C), such as is used in theater lobbies
or window displays, and a firm wooden support for the camera and microscope,
was easily obtainable, the microscope being part of the regular laboratory
equipment. The wooden support was provided by a home made title board.
This was stood on end as in making trick titles and the microscope placed on
the platform that ordinarily holds the title card. The camera was mounted
on a block above one of the oculars of the microscope and adjustments were
easily made for centering the microscope and camera. No lens was used in
the camera and the right hand ocular or eyepiece of the microscope was
removed. The image was projected upon the film by the objective lens of the
microscope.
It so happened that, in the binocular microscope and the cine camera
used with lens removed, the ocular tube was of the proper diameter to fit
within the lens recess of the camera. This made a satisfactory light tight
connection between camera and microscope without the aid of a connecting
tube or bellows. The depth of the lens recess in the camera also allowed
sufficient perpendicular motion of the microscope body tube properly to focus
the image projected by any of the three objectives ordinarily used.
The left eyepiece tube (D) of the microscope was so arranged that it
could be focused independently of the right hand ocular. This feature was
utilized in focusing the image on the film and to the eye.
With this equipment, adjusting the two eyepieces (one of which projects
the image on the film, the other to the eye ) to the proper focus is accomplished
by removing the camera cover (Figure 2, page 30) and placing a piece of
opaque film leader (a) in the camera gate. The shutter of the camera is held
open by holding the small wheel that operates the pull down mechanism (b)
or allowing the camera to run down. The image on the film can be seen by
holding a small dental mouth mirror (c) behind the film gate in such a manner
as to reflect the light from the small hole in the back of the film gate. (If
necessary, this hole can be drilled to a larger size in order that more of the
image can be observed, but satisfactory results will usually be obtained as it is.)
Focusing is accomplished by the use of the coarse and fine adjustments on
the microscope. When the image is sharply defined on the matte film, the left
hand ocular is adjusted to the proper focus. Several pieces of colored glass
are placed over this ocular to cut the light sufficiently to reduce eyestrain.
Without altering the focus on the film, the left hand eyepiece tube (Fig. 1, D)
is rotated up or down until the image is brought into focus to the eye. (As
the perpendicular motion of most adjustable oculars is limited, it may be
necessary, in working out similar arrangements, to construct a small collar
which will raise the ocular about an inch above its normal position. A small
mailing tube of the proper diameter with the top and bottom removed makes
a satisfactory collar. The distance is determined by the power of the eyepiece
used, 6X or 10X, as the bottom lens element of the eyepiece must be at the
same level as the film gate in the camera.) When the images on the film and
eye are both in focus, any movement of the coarse or fine adjustment of the
microscope will affect both images equally. When the camera and observation
eyepiece have been focused, the matte film is carefully removed, the film
threaded in the usual manner and the cover of the camera replaced. Extreme
care is necessary during this manipulation to avoid moving the camera or
microscope so as to disturb the previous focus. [Continued on page 30]
A big thrill on the
mountain, a bigger
one on the screen
TO film the most proficient of skiers gliding around
dozens of thrilling turns at tremendous speed in the an-
nual Dartmouth Outing Club "down mountain" ski race
on Mt. Moosilauke was the chief objective of the author's
photographic program of last winter. Would it be possible
to show the grandeur of the mountain, the beauty of the
steep trail twisting abruptly down through nearly three
miles of snow covered forests and, at the same time, show
that which was even more important, the great skill of the
men as they sped over huge drifts and glided around the
sharpest of turns with speed and grace almost unbelievable?
With this as an objective, experiments with ski movies
started. After some experiments, satisfactory results were
obtained, a few of which may be of interest to other amateur
cinematographers.
Previous trial at filming a ski race in Canada, when ideal
snow and light conditions promised a beautiful picture, had
come to an abrupt end when the camera froze at ten below
zero. The trouble was simple. The camera, made with bear-
ings specially designed so as not to need oil, had been
carefully oiled. This was the first but not the last blunder.
Amateurs should learn from the manufacturer or dealer how
to use their camera in subzero weather.
How could those sharp turns be filmed where the skier
suddenly swerves at right angles, or even more, at very high
speed? The advice not to "panoram" had been read so many
times that it was believed it must not be done. When a
man, standing in the middle of a big hill at Lake Placid,
was seen pointing his camera at a skier starting down the
hill and following him to the bottom, the thought occurred,
"That fellow never read the warnings against panoraming."
It was indeed surprising, then, to learn that he was an expert
of one of the big cine manufacturing companies. His reason
for panoraming, it was found, was to keep the moving object
in the center of the picture. By doing this, it was possible to
make a satisfactory pic-
ture of a rapidly moving
object. Subsequent ex-
perience in making ski
movies with Otto
Schniebs, Dartmouth ski
coach, proved that, when
the skier comes so near
H. Armstrong Roberts}
Secrets of success
in filming the king
of winter's sports
the camera that only part of him can be photographed,
the most satisfactory method is always to keep the skis
themselves in the picture, although the skier's head and
body may not be shown until he again gets further from
the camera.
A realistic film of the race would have to show how the
trail looked to the skier as he sped down. The only way
to do this was by traveling shots. The first attempts at
these were truly sad! Holding the camera steady was, of
course, the problem. And practice, practice and more prac-
tice was the solution. On smooth skiing, it was possible to
hold the sight of the camera to the eye with elbows tight
at the sides. But, at high speed on a rough crooked trail,
the most satisfactory method was to ski in a low crouch,
knees bent forward, acting as shock absorbers, with the
camera held far in front. It was enough to maintain bal-
ance without attempting to use the sights. The camera
was simply pointed at the middle of the trail and held
there until the camera spring ran down. These shots ex-
ceeded expectations and are perhaps the most interesting
part of the film.
The day of the race arrived. Intercollegiate champions,
past, present and prospective, former Olympic team members
and lesser lights of all degrees of proficiency were assem-
bled forty strong at the tree line. Every two minutes a
man would start down the mountain. The plan was to film
the first man as he started, then ski down a short distance
and take the next man and so on. The camera did not
freeze and the traveling shots and the panoraming seemed
to be coming along all right. But there was one thing which
presented a problem — the lighting.
Past experiments had involved different films with and
without a filter in all kinds of light except during a snow
storm and this turned out to be the day of the worst snow
storm of the winter! It was obvious that a filter should
be used. It was pretty dark so the lens was opened to its
widest aperture, //3.5. Luckily, //3.5 with a 2x filter and
standard panchromatic film was right for these conditions
in early March. The absence of the sun prevented getting
the beautiful snow detail with glistening high lights that
had been hoped for but a big snow storm has a beauty all
its own. This was shown and the skiing conditions were
ideal. The film was all that [Continued on page 34]
JOHN W. McCRILLIS
Ski shooting
16
William A. Palmer
Selecting suitable
action is the first
task of the editor
HOWARD DESMOND
Keys to editing
A concise guide to
achieving films of
interest and merit
WHEN the photographer lays
down his camera and takes up
the scissors to become editor, he
might find a worse thought to ruminate
over than the adage, "He who shuns fight
and runs away will live to fight another
day." If he had done the hard work at the
camera end, rehearsing the action, select-
ing angles, reducing the number of "panorams" and providing a sufficient
variety of shots to illustrate each specific point, he would have comparatively
little difficulty with the editing. If, on the other hand, he had taken everything
as it came along, his labors at the cutting board would be a constant reminder
of his directorial shortcomings.
Selecting suitable action is the editor's most obvious task, but neither the
most brain racking nor the most important. He has also to create a definite
rhythm and to introduce dramatic suspense even in commonplace subjects.
These three widely different types of operation may well be performed in that
order.
The work of selection will represent, in point of time, only about one fourth
of the task. First, the best shots among those that picture approximately
the same action will be picked out and the duplicates or retakes will be placed
in the provisional discard; then, all shots that are unsatisfactory for technical
reasons and those that are not indispensable for the action — the "cut outs"
proper — will be thrown out, provisionally also; finally, but only after the
picture has been sequenced and projected, a few feet will be cut out at the
beginning or end of each scene, constituting the "trims." Obvious as this order
is, most amateurs are so anxious to see the finished product that they lack
the nonchalance required to proceed systematically with the selection and
frequently start chopping at their pet scene in minute detail, writing "wise
crack" titles for it, before even ascertaining whether it can be used at all in
any comprehensive plan of assembly.
Assuming, however, that the rough selection has been done wisely, the
film as a whole is still ineffective. The preliminary assembly may show the
general purpose but the production fails to click as a unit; it lacks rhythm
and suspense and, therefore, does not produce the right kind of emotional
response; it leaves one cold.
Securing good rhythm is much a matter of feeling. Experience, however,
shows that there are recurring conditions which are known to destroy rhythm,
while adherence to certain principles tends to create a feeling of smooth flowing
continuity. Destructive of rhythm are a sudden change from a needle sharp
scene to soft focus, a highly contrasty and localized lighting next to an over
all lighting effect, a change of action tempo from slow to fast or vice versa
or a change in the direction of "panorams" or tilts. These and all similarly
sudden transitions draw our attention to the process at the expense of the
effect; they make us conscious of the camera work as such; they are as "jazzy"
and inartistic as those old cars that stand on vacant lots near large cities,
painted with every kind of color that is obtainable. While the producer has to
be acutely conscious of the means employed to gain his end, the spectator
should never think of the means. The over ingenious cameraman who makes
each scene a sample of his varied talents renders the editor's task well nigh
impossible. Even a mosaic must be built around a central concept.
When such excessive contrasts have to be minimized in editing, one remedy
is to change the order of scenes within the sequence, which is always easy,
for instance, in travelogs; another is to break up the sequence by inserting
short titles between the contrasting scenes, thereby giving the spectator time
to forget what he has just seen.
Constructive rhythm, when the diversity is mental or emotional rather than
photographic, can be secured very easily by a rearrangement of sequences.
If we remember that rhythm is nothing but that which creates a feeling of
continuity, all we have to do is to juggle the scenes around to form groups
of unified emotional value, instead of presenting them in the order in which
they were shot. There is nothing but a headache in a series of one hundred
New York views. It is like turning the pages of a very haphazard collection of
postcards, but the same material, grouped around a number of central interests,
may be extremely fascinating. A chaotic jumble [Continued on page 28]
17
Heading south?
JAMES W. MOORE
AN AMATEUR movie maker being essentially a fan, an aficionado and
MjL. one badly bitten with the "bug," it is only logical to expect that the
j % depression has had little effect on his filming ardor and this is the
case. Bravely, while Rome burns, he gets a shot of it and probably with
superspeed stock at that, which is as it should be. But, if lowered revenues
and passed dividends have failed to dampen the amateur's ardor, they have so
far affected the world about him as to provide unparalleled opportunities for
thrifty filming far afield, as steamship, train and hotel rates have been greatly
reduced. Perhaps, chief among these opportunities is winter travel. Bermuda
is a next door neighbor. Florida, the Southeast and California beckon with
budget plans for attention and a Caribbean cruise is becoming as everyday as
a trip to Coney. With these savings at the start of the trip, let us see how they
can be continued in the filming itself, so that every scene will count.
Travel films, whether in winter or summer, may be divided, for planning,
into three general classes — personality scenes against the varied backgrounds
and activities of the trip, record films based on the itinerary as each one has
made it and entirely impersonal travel short subjects such as those screened
professionally. Both in the advanced planning and later editing, it will be found
an aid to clarity and interest to keep in mind these broad continuity themes.
The personalized treatment, though frankly the easiest in its demands on
the time of the cameraman, may often seem the most difficult in which to
achieve story interest, but it need not be. By way of example, consider a
family trip to Havana. It might have a lead title such as any of the following:
A Winter Pilgrimage, From Snowdrifts To Sunshine, January Journeys, March
Madness or February Fooling Of The Family. Open with a closeup
of a calendar giving the month and perhaps the day. Cut from this to a driving
snow storm and, in the next scene, to Dad plowing his way through the storm.
Then, just as he enters the house, cut to scenes of Mother and the others in the
living room. In long shot, they are intent over the table; in near shots and
closeups, papers, folders and maps of a trip to Cuba are seen strewn before
them. Cut back to a near shot of Dad in the hall stamping off the snow. In a
medium shot of the family, they are seen to start guiltily at this noise and
try to conceal the papers. Then, in a long shot from behind them, Dad is
seen to enter and approach the group. He spots the folders. There is a bit of
business as he questions regarding them until, finally, Mother says in a title,
"Well, dear, we sort of thought you might need a change", Dad looks a bit
dubious at this, gives a casual glance at a prospectus of Cuba's charms, looks
again less casually, sits down and, as the family gathers round him, the scene
fades out on the beginning of the southern sequences.
Another way of introducing the film is to show the family at the railroad
station or boarding the boat. A third method is to begin with the family at
Havana, Miami or Pasadena and, after several sequences of sights and scenes
there, to cut to such a title as While back home and follow with scenes of
a snow covered house, the streets coated with sleet and so on. One could bring
the action back to the South by means of another title. This being a persona]
film of the snapshot variety, whole sections of the trip can be passed over and
the film might continue by fading in on a quick general sequence of arrival at
Havana with Morro Castle pivoting the ship into the harbor, the city gleaming
in the sun on the starboard hand, the activity on the pier head, the lines
made fast ashore and the passengers streaming down the gangway. Then cut
directly to the title, Mother had her own ideas about the purpose of the trip.
Here can follow a series of scenes of shops and markets of Havana, starting
with long shots for location and coming to near ones as window after window
and souvenir after souvenir catches her eye. Intersperse this with a couple of
scenes of her going into impressive looking stores or coming out with pack-
ages. Such a sequence, one that can be built up with only the slightest
advance planning, might be brought to a
close with a dramatic and easily faked
scene of Dad. First comes a title, such as
It's the same the whole world over, and
then we see him standing in front of a
shop window or by the door of a cab, a
background that could even be secured at
home after the [Continued on page 28]
Outlines for winter
travel films made
in summer climes
Composition was the
major consideration
in this scenic shot
Amateur clubs
18
ARTHUR L. GALE
City film
At a recent meeting, the Sunset Movie Club of Long Beach,
Calif., decided on a new method to be used in making the
cooperative club film of Long Beach that has been planned. A map of the city
was cut into sections, one section for each member of the club. The members
then each drew a section by lot and each will make a twenty five foot sequence
of his section. All films are to be taken and processed in time for screening
at the next meeting when prizes will be awarded for the best. The film will
then be edited and spliced by a committee, resulting in a representative film of
the whole city. W. J. Hawkins, Jr., is secretary of the club.
New York elects ■ At tne annual election of the Metropolitan Motion
Picture Club in New York City, the following were
selected as directors for the club for the coming year: Grace Clarke, Annette
C. Decker, William C. Alcock, Herman Danz, Dr. Raymond L. Ditmars, Carl
Louis Gregory, Herbert C. McKay, James W. Moore, Raymond L. Petty, Dr.
George L. Rohdenburg and George Ward. President, vice president and secre-
tary are elected by the board of directors from its membership and will be
announced later. After the business meeting, new projection equipment was
demonstrated and members' films were screened. Among them were Green
Patches and Along The Hudson by Norman D. Taylor and Closeup To Nature
by Herman Danz.
Film D3 Scant ■ The Cinema Club of Larchmont, N. Y., has been asked by
the committee in charge to make a complete film record
of Larchmont's George Washington Bicentennial pageant. The films will be
made by the club and preserved by the city. A call has been issued to members
for a scenario for the club's second photoplay and, at the latest meeting,
Lighting Demonstration and Fly Low Jack And The Game from the League
Club Library were screened. In addition to other activities, this well organized
club conducts the projection of film for various local clubs and societies.
Oakland ■ At a recent meeting of the Greater Oakland Motion Picture Club
in Oakland, Calif., Mr. Thompson gave an informal talk on
amateur movie technique. A screening of members' films was also featured.
The Oakland club holds two meeting regularly each month. The program
of each meeting is preceded by a club dinner.
S. F. Contest ■ The first contest of the Cinema Club of San Francisco,
Calif., resulted in the selection of Backwoods, a scenic
filmed by Truman Bailey, for first prize; Acorns To Bread, a study of the
western Indian's method of baking bread, made by Guy D. Hasleton, for
second prize. The award in the 9.5mm. section was won by Kenneth P. Grethel
and honorable mentions were awarded Fred W. Kolb for Amateur Pros-
pectors and to R. W. Kerrigan for A Week In Yosemite Valley. Judges of the
contest were Sigismund Blumann, editor of Camera Craft, G. A. Young and
P. Douglas Anderson. The club plans to hold another contest soon with prizes
for the best continuity treatment or sequencing in a fifty foot picture. It is
wisely deferring a contest with another club until after several preliminary
contests have been held. The projection of A Trip Through Filmland and
lighting tests with supersensitive film were featured at a recent meeting. A
question box is maintained and members' questions accumulating during the
month are answered at each meeting.
First State film ■ The Cine Ciub of Portland, Ore., is planning a state
scenic film to present Oregon's chief scenic attractions,
its larger industries, its crops and its recreational facilities. The plan is to
request each member to lend his best material on the topics to be covered.
A continuity will then be prepared on the
basis of film available rather than the
scenes to be made. The portions of mem-
bers' pictures to be used will then be
duplicated and the master film edited by
a committee. Each member will be
credited in titles for his contribution. Al-
though several [Continued on page 31]
Latest news of
photoplay and
group activities
Scene from fairy tale
recently produced at
Newcastle on Tyne
Arthur S. Greaves
19
His lensless view
finder is favorite
device of Mr. Dodge
A FEW years ago, while on a vacation trip deep in
the Canadian wilderness, one of the members of
our party lost the front objective of the circular
type optical viewfinder on his motion picture camera. For a
while there was weeping, wailing and gnashing of teeth and
all members of the party went into a huddle to see if we
could devise means whereby our friend could operate his
camera. In the absence of the front objective, the rear eye
piece, of course, was of no use, so we removed it and told
our friend not to try for any artistic composition, but to
place the principal object in the center of the tube, breathe
up a prayer to St. Daguerre and hope for the best. When
the film was developed, there were a surprising number of
good pictures and, of course, some disappointments.
On looking through the empty barrel of the viewfinder, I
was impressed with the large size of the object in the picture
field and the wonderful clarity of it. This suggested the
idea of building a tubular viewfinder using no lenses at all.
I located the center of such a finder four and one half inches
from the taking lens. This dimension was arbitrarily chosen
to allow for a finder aperture which would be two inches
wide. A piece of two inch square brass tube was obtained, the
casting on the camera which held the viewfinder was sawed
off and the square tube attached in its place. A cap was
made for that end of the tube which was nearest to the eye
and a one sixteenth inch hole drilled in this cap to provide
a peep sight. The inside of the hole was beveled and the
interior of the tube painted dead black. It was necessary to
make provision whereby the opening in the rear could be
shifted to the left for closeups. A sliding device was made
and calibrated to take care of twenty, twelve, eight and four
foot distances. This two inch diaphragm for the one inch
lens, when so calibrated, worked perfectly.
Small doors were hung inside the tube, operated from the
outside, and frame openings of different areas cut in each.
Thus, a different size
field was provided for
the various lenses used.
The leaves were so ar-
ranged that the leaf car-
rying the opening for
the three inch lens was
swung from the top
Another enthusiast
revamps his camera
to fit personal ideas
downward, the two inch opening swung from the bottom
upward and, on the outside of the tube, a similar leaf was
built carrying an opening for the four inch lens, arranged
to swing upward.
The illustration shows the diaphragm for the one inch
lens and below is seen the matte opening for the four inch
lens. I thought it advisable to center the openings to the
nearest practical working distance for their focus, conse-
quently they were placed so that the two inch would work
at fifty feet, the three inch at seventy five feet and the four
inch at one hundred feet. A test was made on a telegraph
pole at the distances mentioned and the diaphragms so posi-
tioned that, working all lenses, I could obtain a straight
line on five feet of film, exactly in the center of the film.
Any nearer distances for long focus lenses can be taken
care of by the shifting device in the rear of the finder.
This "air" view finder has been employed for nearly three
years. It has developed no errors nor inconveniences. It
appears to have everything to commend it. The sizes of the
diaphragms are approximately four times larger than the
area used on glass lenses; consequently, the objects in the
picture field appear four times larger. One also has a
natural clarity of view. On making a comparison by placing
the regulation tube and its lenses alongside of the "air" view
finder, the view from the latter was considerably brighter.
This is explained by the fact that the best lens cannot trans-
mit light as readily as air.
One pleasant thing, in working with this finder, is the
entire absence of eye strain. The muscles of the eye are
strained after looking at an object, say four hundred feet
away, and then suddenly trying to see the same object
through a lens four inches away. As there are no lenses in
the finder, naturally there is no eye strain.
The greatest advantage noted is when using the finder
with long focus lenses. This will be understood when it is
considered that, in the lens system using a four inch objec-
tive, there is a diaphragm of approximately only one eighth
inch to look through while, in the "air" system, there is a
diaphragm of one half inch. In fact, this view finder has
worked out so well that I use it on every possible occasion,
regardless of the fact that it takes up more room.
Also incorporated in this camera are a number of other
interesting improvements. A [Continued on page 34]
W. H. DODGE
//
Nearer to the heart's desire"
20
John Paul Pennybaker, Courtesy New Jersey Bell Telephone Company
Proper operation
of switchboards is now
taught with cine film
LOUIS MILLER BAILEY
Educational films
Business, medical,
school, civic, church,
welfare & other uses
Business ■ Utilizing 16mm. to advertise
attractions of Maine, H. B.
Coe, A. C. L., pioneer movie maker
and director of the state publicity bureau,
Portland, reports active cooperation from
amateurs who have contributed scenes
from personal scenics to supplement the
bureau's in compilation of its publicity
films which feature Maine's mountains, seacoasts, lakes, salmon and trout
fishing and wild life. Two subjects have now been completed, he reports.
■ Outstanding new features of Master Baker Ovens are illustrated for bakers
and prospective buyers of the ovens in a 400 ft., 16mm., film made by L. D.
Houlis, A. C. L., Batavia, Ohio, which shows the operation of mixing machines
and the technique of baking cakes as presented during a recent course by the
staff of General Mills. Over 200 bakers saw the film at a company banquet.
■ You Can't Get Away With It, 800 ft., 16mm., depicting operation of Holmes
Electric Protective Company's burglar alarm systems, has been produced by
L. H. Chase, A. C. L., New York City. The manufacture and methods of
testing the completed equipment are shown as well as the operation of the
company's service after the systems have been installed, the film ending with
a dramatic treatment in which a burglar tries to enter protected premises. How
the service works is so well presented as to convince one of its efficiency.
■ Two Questions — One Answer, a one reel film which asks the questions, "How
can a boy today learn a skilled trade?" and "How can precision industry
assure itself of an adequate supply of well trained, highly skilled mechanics?"
and answers them by pointing to properly organized and intelligently directed
apprentice training, has been produced on 16mm. by the Bell & Howell Com-
pany, according to W. F. Kruse in the July Iron Age. The film has been
screened at national conventions of manufacturers and teachers. A section of it
shows the Chicago educational system's work in fostering training of skilled
workmen through its Washburn Apprentice School. Opportunity, of similar
content, has been produced by the General Electric Co. and a two reel sound
subject, A PBX Prescription, showing the need for training operators in proper
methods of switchboard operation, has been produced by the American Tele-
phone & Telegraph Co. Hundreds of other plants throughout the country,
largely through the efforts of individual amateurs, are effectively utilizing
16mm. in furthering motion study, sales, publicity and other aspects of pro-
gressive industrial programs. (See Free Films, page 37).
Medical ■ ^° record the condition of patients at time of entry and during
their stay, 40,000 feet of 16mm. has been filmed at the institute
of paralysis correction conducted by Milton H. Berry, A. C. L., at Van Nuys,
California, according to the brochure, A Message To The World, published by
the institute. "When a case presents itself," according to Mr. Berry, "a survey
of the muscular body is made. Conditions that are similar and which have been
corrected are shown to the parents from our film records. There they see the
original condition as well as that of the pupils when they were discharged."
Strips from the films are used to illustrate each case reported in the brochure.
■ For instruction and to illustrate a lecture on an outstanding case, a 100 foot
film on a sixty year old patient's recovery of faculties after an operation
involving the hip joint has been made by Albert E. Rust, A. C. L., for Dr.
Howard Moore, orthopedic surgeon, Newton Hospital, Boston.
■ Production of a 16mm. film series on diagnosis, treatment and, where
necessary, operative procedure of intestinal and stomach work is planned by
Louis W. Schwindt, M. D., A.C.L., Philadelphia, Pa., he reports.
■ Extensive use of films to train nurses is indicated by requests to the League
for data on film sources. From C. A. Richardson, M. D., A.C.L., Closter, N. J.,
comes information that obstetrical films are to illustrate lectures for nurses at
Englewood Hospital.
School " T° Iurther the use of 16mm. film and other visual aids in schools,
The Dominion Educational Film Association has been established
in Toronto under the management of [Continued on page 36]
21
Titles that titillate
E. F. TUTTLE, JR.
Several ingenious
suggestions for
varying captions
IT IS not absolutely necessary for the
amateur title maker to be content with
plain white block letters on a black
background. By using a little ingenuity
combined with a little work, he can have
titles that will be appropriate and which
will be distinctly different. Making titles
is as much a part of the fascination of
amateur movies as the making of the pictures themselves and is fully as
interesting. Description of certain results already achieved may help the reader.
Fade ins and fade outs are both good. These may be produced by closing
or opening the diaphragm gradually and covering it with a piece of black
cardboard when //16 is reached. By using wallpaper for title backgrounds,
some fine results can be had. Stencils may be cut out (sometimes using
pictures taken from advertisements) which may be pinned to the black
cardboard background, lightly airbrushed and then removed. This will give
a silhouette effect. Should an airbrush not be available, practically the same
effect can be had by dipping the tips of the bristles of a toothbrush in
water color and then drawing the end of the finger across the bristles so that
the paint is thrown off in very small dots. When dry and the picture removed,
the title is written in the usual way. In case it is wished to use a picture
and at the same time not to spoil it, make the stencil of draftsman's tracing
paper which is transparent and can be laid over the picture and the desired
portions traced with a lead pencil. This silhouette is then cut out and sprayed
instead of the original. To have the titles appear as if they were written in
fire produces a very novel effect. Use white paper for the background and
outline the letters very lightly in pencil. Then paint them in with a saturated
solution of saltpeter (niter) dissolved in water. Put a small pencil mark (X)
at the left hand side of the paper and paint a thin line of the niter solution
from this mark to the closest letter; then continue the line so as to connect
all of the other letters. When thoroughly dry, pin the paper in some sort of
skeleton frame so that air has access to the back of the paper. Shoot a few
frames of the blank paper and then light a match and blow it out immediately;
touch the hot head to the X mark and a line of sparks will follow to the let-
tering and will burn wherever the solution has been applied. The niter does
not burn with a flame but merely smolders and leaves the title black on the
white background. On letters such as A, B, D, etc., which have a clear place
entirely surrounded by the letter, it is advisable to support the central portion
by a paper "tie" as in stencils, as it might otherwise drop out when burned.
This strip should be lightly pasted to the central part of the letter and also
above and below, being raised up a little where it goes over the part to be
burned, as the extra layer of paper here might stop the fire.
Titles may also be written on white paper with dilute nitric acid (made
by adding one part of acid to four or five parts of water). When dry, the
paper is put in a frame with the back open and, while shooting, heat is
applied to the back. The lettering will appear gradually, finally coming to a
very dark brown which photographs nearly black.
Another method of making titles that are out of the ordinary may be
brought into play by painting the title on a piece of glass of suitable size.
Letter the title in the center of the glass, using a water color paint, black or
white, as required to make a contrast with the background. A picture may be
used as a background, as may some natural object, such as a bush, tree, rock,
etc., by setting the glass up in front of it with the lettering up side down.
Place the glass close to the background and, when all is ready, shoot a few
frames. Then, while shooting, without moving the camera, turn a hose on the
glass, having the sprinkler set so as to deliver a very fine spray. A few
preliminary experiments with the hose will show how to do this. Be careful
not to sprinkle the camera lens. Let the water run down over the title but do
not spray there as the drops will show up in the picture because of their
concentrated reflecting properties. This water will gradually soften the paint
and it will run down the glass, out of the picture. Shoot until all the color is
washed off and only the background can be seen. When setting up the glass
and the camera, be sure there is no reflection from the glass that will show
in the lens. This can be assured by looking through the finder. After the
film is processed, reverse it, end for end, when [Continued on page 36]
Lettering done on
celluloid prevents
harm to backgrounds
Floyd Cr«
fierratvearv
We near tke American
iViectiierratve^n,
^
22
JANUARY 1932
A 40 cent lamp
gives light enough
for the new, fast film
When friends drop in for the evening you can get into action
with your movie camera in less time than it takes to set up the
card table — thanks to speedy Cine-Kodak Super-sensitive Pan-
chromatic Film and the handy 64-volt Mazda lamp.
Outdoors, Cine-Kodak Super-sensitive is a film for any kind of
day and any time of day. From early morning to twilight . . .
and even in pouring rain . . . you'll get movies as well-exposed
as those made on ordinary film in good sunlight. 100-foot roll,
$7.50; $4.00 for the 50-foot roll.
With Cir
You Can
THE ONE "LOCA
makers cherish
every movie ma
thanks to Cine-Kodak
matic Film and the 64-
This lamp, used 01
though short-lived, pi
because of overloadin
Kodak Super-sensitive
Mazda lamps is equiv.
dinary 100-watt lamp
When /.3.5 and/,
these lamps and the fa
tically any in-the-hom
EASTM
MOVIE MAKERS
23
iCodak Super-sensitive Film and 64-volt, 100-watt lamps
ake Any In-the-Home Shot Regardless of Lens Equipment
experienced movie
side the home. Now
in enter this field...
er-sensitive Panchro-
oo-watt Mazda lamp.
volt house current,
es unusual brilliance
len used with Cine-
one of these 64-volt
o seven or eight or-
meras are used with
, you can make prac-
Even with an f. 6. 5
lens you can make indoor movies if a sufficient
number of these lights are employed.
Cine-Kodak Super-sensitive Film "sees" fast.
It has remarkably wide latitude . . . reduces the
danger of under- and over-exposure . . . enables
you to make movies on cloudy days as well as
clear ones . . . day or night, indoors or out.
Thousands upon thousands of movie makers
have used it in all these ways. Here's your chance
to try it now. . . under new conditions . . . indoors
with 64-volt lamps that cost but 40 cents each.
Simply ask your dealer for one or more of the
64-volt, 100-watt Mazda lamps, and an inexpen-
sive "silver-surfaced" reflector.
N KODAK COMPANY £S
22
JANUARY 1932
I
'
JANUARY 1932
MOVIE MAKERS
A 40 cent lamp
gives light enough
for the new, fast film
When friends drop hi for the waring yon can get into action
with your movie camera in /ess time than it takes to set up the
card table — thanks to speedy Cine-Kodak Supersensitive Pan-
chromatic Film and the handy 64-volt Mazda lamp.
Outdoors, Cine-Kodak Supersensitive is a film for any kind of
day and any time of day. From early morning to twilight. , .
and even in pouring rain . . . you'll get movies as well-exposed
as those made on ordinary film in good sunlight, tao-foot roll,
$7-5°; $4.00 for the 50-foot roll.
With Cind-Kodak Super-sensitive Film and 64-volt, 100-watt lamps
You Can Make Any In-the-Home Shot Regardless of Lens Equipment
THE ONE "LOCATION" experienced movie
makers cherish is inside the home. Now
every movie maker can enter this field...
thanks to Cine-Kodak Super-sensitive Panchro-
matic Film and the 64-volt, 100-watt Mazda lamp.
This lamp, used on lio-volt house current,
though short-lived, produces unusual brilliance
because of overloading-.When used with Cine-
Kodak Super-sensitive Flm, one of these 64-volt
Mazda lamps is equivaW to seven or eight or-
dinary 100-watt lamps- J
When /.3-5 and/i-!
these lamps and the fa:
cameras are used with
m, you can make prac-
lens you can make indoor movies if a sufficient
number of these lights are employed.
Cine-Kodak Super-sensitive Film "sees" fast.
It has remarkably wide latitude . . . reduces the
danger of under- and over-exposure. .. enables
you to make movies on cloudy days as well as
clear ones . . . day or night, indoors or out.
Thousands upon thousands of movie makers
have used it in all these ways. Here's your chance
to try it now. . . under new conditions . . . indoors
with 64-volt lamps that cost but 40 cents each.
Simply ask your dealer for one or more of the
64-volt, 100-watt Mazda lamps, and an inexpen-
sive "silver-surfaced" reflector.
tically any in-the-home i ot. Even with an /. 6. 5
EASTMiN KODAK COMPANY
Rochester
New York
24
NEW
LOW
PRICES i
WILLOUCHBYS
HO WEST 32NB STREET, NEW YORK
JANUARY 1932
Now they can be filmed
[Continued from page 13]
of the crowd arriving and, during the
progress of the game, scenes of the
cheering from the bleachers could be
inserted after baskets were made.
Although it would seem that track
and swimming could be better filmed
out of doors, many an important swim-
ming meet takes place indoors and
scenes of indoor track practice might
be a very helpful prelude to a record
of the track season. Movies of both
could scarcely be made without super-
sensitive film. When the amateur cam-
eraman has freedom of action— that is,
when he is not filming a meet — he can
apply the same type of sequencing to
films of diving and swimming as is rec-
ommended for outdoor work. (See
Water Sports As Cine Subjects in
Movie Makers, August, 1931.) Indeed,
indoors the amateur has even greater
facilities, for he will have a better con-
trol of the subject. In filming a swim-
ming meet, the movie maker is likely
to be limited to one position, his seat
on the bleachers, and therefore can do
little more than record the events.
The performances of skilled gym-
nasts on the parallel bars or flying
rings suggest many different camera
angles. An experimental film of this
subject would be well worth while, nor
would it be difficult, for some of the
most interesting angles, from the view-
point of the motion picture screen, are
those that may be made from the
ground when the performers are over-
head. Slow motion here would again
be particularly effective and telephoto
closeups could be used for emphasis or
the study of details. Sequences of such
action as this would fit very well into
a general athletic picture, the conti-
nuity of which was based on some gen-
eral quality, such as grace, skill, train-
ing or thrills. This idea has been sug-
gested before, in reference to outdoor
sports, and now many indoor sports can
effectively be included.
The growing popularity of squash
and badminton suggests that movies of
these sports be attempted. In either, a
good initial scene might consist of a
closeup of the racket itself and then
the ball or "bird." Then could follow
scenes of the correct grip of the racket
and the sequence could be ended with
a medium shot of the court. Next could
come scenes of a few practice shots by
experienced players demonstrating the
various fundamentals of the game. From
this point the subject could be shifted
to scenes of a match between players
who would be certain to stage good
rallies and whose contesting of points
would assure the movie maker of inter-
esting material.
MOVIE MAKERS
25
THE TEST OF TIME HAS SHOWN THAT
The Kodascope Libraries' Dealer-Distributor Franchise
(l) insures maximum profit without speculative risk to the Dealer, and
(2) furnishes greatest satisfaction to the Customer
through a constant supply of fresh subjects from the world's greatest producers, exchange
able every four months.
Every Distributor has also available on a commission basis the entire Kodascope Library
repertoire from our nearest Branch Library.
Kodascope Libraries are located at
Atlanta, Ga.
Boston, Mass.
Chicago, 111.
Cincinnati, Ohio
Cleveland, Ohio
Detroit, Mich.
Kansas City, Mo.
Los Angeles, Calif.
Minneapolis, Minn.
New York, N. Y.
Philadelphia, Pa.
Pittsburgh, Pa.
Rochester, N. Y.
San Francisco, Cal.
Seattle, Wash.
Kodascope Libraries, Inc., 183 Peachtree St.
Kodascope Library of Boston, Inc., 438 Stuart St.
Kodascope Libraries, Inc., 137 North Wabash Ave.
Kodascope Libraries, Inc., 27 West 4th St.
Kodascope Libraries, Inc., 806 Huron Road
Kodascope Libraries, Inc., 1206 Woodward Ave.
Kodascope Libraries, Inc., 916 Grand Ave.
Kodascope Libraries, Inc., 643 South Hill St.
Kodascope Libraries, Inc., 112 South 5th St.
Kodascope Libraries, Inc., 33 West 42nd St.
Kodascope Libraries, Inc., 132 So. 15th St.
Kodascope Libraries, Inc., 606 Wood St.
Kodascope Libraries, Inc., 343 State St.
Kodascope Libraries, Inc., 216 Post St.
Kodascope Libraries, Inc., Ill Cherry St.
Kodascope Libraries offers its Distributors an ideal partnership arrangement with par-
ticipation in profits, your own choice of subjects (frequently exchangeable), no speculative
investment and privilege of termination on thirty days1 notice.
Our enormous variety of subjects and ample supply of duplicate copies permit frequent
change of your library and stimulate and hold your customers'' trade.
Requirements for Franchise have recently been reduced one-half.
Authorized Kodascope Library Dealer-Distributors
as of December, 1931
Altoona, Pa.
Baltimore, Md.
Boston, Mass.
Bridgeport, Conn.
Buffalo, N. T.
Charlotte, N. C.
Chicago, 111.
Denver, Colo.
Detroit, Mich.
East Orange, N. J.
Fort Wayne, Ind.
Great Neck, L. I., N.
Hartford, Conn.
Hempstead, L. I., N
Honolulu, T. H.
Indianapolis, Ind.
Jamaica, L. I., N. Y
Milwaukee, Wis.
Montclair, N. J.
Morristown, N. J.
New Haven, Conn.
New Rochelle, N. Y.
Cohen's
Eastman Kodak Stores, Inc.
Eastman Kodak Stores, Inc.
Andrew J. Lloyd Company
Harvey & Lewis Company
United Projector & Film Corp.
W. I. Van Ness & Co.
Aimer Coe & Company
Eastman Kodak Stores, Inc.
Eastman Kodak Stores, Inc.
M. B. Ross, Inc.
Sunny Schick Pictures
T. Lovett Cinema Studio
Harvey & Lewis Company
D. G. Stoughton Company
Watkins Bros., Inc.
T. Agnew's
Honolulu Photo Supply Co.. Ltd.
L. S. Ayres & Co., Dept. 200
B. Gertz, Inc.
Eastman Kodak Stores, Inc.
The Edward Madison Company
Ajemian Camera Shop
Fritz & Hawley, Inc.
Home Movies
New York, N. Y.
Oakland, Calif.
Oak Park, 111.
Omaha, Neb.
Pasadena, Calif.
Pawtucket, R. I.
Philadelphia, Pa.
(Germantown)
Pittsburgh, Pa.
Portland, Oregon
Providence, R. I.
St. Louis, Mo.
Salt Lake City. Utah
San Diego, Calif.
San Antonio, Texas
Springfield, Mass.
Tacoma, Washington
Washington, D. C.
Waterbury, Conn.
Wheeling, W. Va.
Wichita, Kansas
Wilmington, Del.
Abe Cohen's Exchange
Wm. C. Cullen
Eastman Kodak Stores, Inc.
Eastman Kodak Stores, Inc.
Christensen & Jensen, Inc.
Eastman Kodak Stores, Inc.
The Flag Studio
Thomas N. Simpson
Eastman Kodak Stores, Inc.
G. P. Darrow Co., Inc.
Kaufmann's
Eastman Kodak Stores, Inc.
Starkweather & Williams, Inc.
A. S. Aloe Company
Eastman Kodak Stores, Inc.
Eastman Kodak Stores, Inc.
Eastman Kodak Stores, Inc.
The Fox Company
Harvey & Lewis Company
Eastman Kodak Stores, Inc.
Eastman Kodak Stores, Inc.
Woodward & Lothrop
Curtis Art Company
Twelfth Street Garage
Lewis Film Service
Butler's Inc.
Cine equipment dealers who are interested in film library rental business should send
for our booklet, How the Kodascope Library Brought Prosperity to Our Store.
KODASCOPE LIBRARIES, Inc.
33 West 42nd Street New York, N. Y.
Subsidiary of Eastman Kodak Co.
26
JANUARY 1932
CLEARANCE SALE OF
LIBRARY SUBJECTS
Slightly Used but in Qood Qondition
We have too -many copies of the following subjects — and offer them for sale at very
low prices. All library reels of nearly 400 feet average length.
Orders filled in rotation, subject to prior sale.
SUBJECTS FOR SALE AT £10.00 PER REEL
Number Title Length
111 6 — Flying Cadets 2 reels
4011 — Love Is Blond 2
4015 — An Arabian Nightmare 2
4032 — Monkeying Around 2
403 3— Oh Ma, The Rent Taker. . . .2
403 5 — Robin Hood, Jr J
4036 — His Wedding Daze 1
4039 — The Hicksville Terrors 2
4043 — The Whirlwind 1
4044 — The Dixie Madcaps 2
8 1 44 — Miss Bluebeard 5 reels
SUBJECTS FOR SALE AT £7.50 PER REEL
4026 — The Lucky Dog 2 reels
4040 — Angel Cake 1
4046 — A Dog in the Manger 2
4048 — The Fast Male 1
4056— Helpful Hogan 2
40 5 8 — It's a Bear 2
4062 — Built on a Bluff 2
70 57 — Flapper Number One 1
8010— The Wakefield Case 6
Number Title Length
4047 — The Circus Imps 2 reels
40 51 — Help Yourself*'
405 5 — The Submarine Pirate
4061 — A Wild Goose Chase
4090- — Dunces and Dangers
8022 — The Forbidden City
8036 — School Days
8076 — Daddies
8097 — One Arabian Night
8141 — Manhandled
8024 — A Fair of Silk Stockings 5 reels
8026 — One Week of Love 7 "
8033— The Better Way .2 "
805 3 — Lucretia Lombard .6
8054 — The Return of Draw Egan ... 4
805 5 — The Pinch Hitter. 4 "
8069— Let's Go 5 "
8094 — Try and Get It 5 "
812 5 — Eyes of Youth 5 "
8127 — Flesh and Blood 5 reels
SUBJECTS FOR SALE AT £5.00 PER REEL
4066 — After the Ball 2 reels
801 1— The Little Duchess 5 "
8012 — Me and Captain Kidd 5 "
8028 — The Veiled Adventure 5 "
8051 — Brass 6 "
805 2 — Bright Lights of Broadway . . 5 reels
8057— The World's a Stage 5 "
8065 — East Side West Side 5 "
8072 — The Average Woman 5
811 8 — Beyond the Rainbow 5
Specify alternates in case first choice has been sold. The available supply will go quickly
at these prices. Many of these subjects can be rented for examination from the nearest
Branch Library and rental will be credited on sale price if purchased.
KODASCOPE LIBRARIES, Inc.
3 3 West 42nd Street, New York
Branch Libraries and Distributors in Fifty of the Leading Cities of the United States and Canada
SUBSIDIARY OF EASTMAN KODAK CO.
News of the industry
C. A. Victor
Oldest and newest Victrolas
with new 33 1-3 record which
runs for full 400 ft. reel.
Answers the query,
"What's new?'' for
amateur and dealer
27
Micromotion Film0BThe development of
an ingenious attach-
ment which records the image of a standard stop
watch in the corner of the frame while shooting,
together with a label for relative data, is cred-
ited to the Bell & Howell Company of Chicago.
By this means, it is possible to record accurately
for study the exact time consumed by any given
motion that can be photographed. Besides this, there is a further advantage in that the
entire apparatus is a unit, attached to the camera. Certain previous methods of time
study analysis involved the use of a large dial, set up near the actual operation to be
photographed, a method which offered a possibility of interference with the work.
This objection is eliminated in the new device, which attaches to the base of the
Model 70 Filmo. To the rear of the camera is a lamp house containing a forty watt
lamp. There is an illuminated compartment which contains the stop watch and the
data card which are focused on a portion of the film through a series of lenses.
These are contained in a tube, which is adjusted according to the lens setting for
the principal* image. Thus the dial and card are superimposed in sharp focus at the
bottom of every frame. The footage dial is calibrated in multiples of frames.
Foth ■ A- little camera, which might well become the movie maker's constant com-
panion for location and light testing as well as for those many shots which
are particularly appropriate to "stills," is found in the Foth Derby, an importation
of Burleigh Brooks, 127 West 42nd Street, New York City. This compact little
camera may easily be slipped in the pocket, being about four inches high, two
inches wide and only an inch and a quarter thick. At its low price, it has many
fine features. These include a focal plane shutter, //3.5 lens in focusing mount (the
same speed as the standard cine lens) and shutter speeds up to 1/500 sec. Cable or
lever release and magnifying viewfinder are also provided. The Foth takes sixteen
pictures on a loading of vest pocket size roll film.
KodaSCODe ■ ^ne Kodascope Library Review will be of real help to all those
amateur movie makers using their projectors in home entertainment.
Published monthly, it can be obtained on request to any Kodascope branch. A new
reduced price level on a wide range of Kodascope subjects should make this service
of particular appeal.
Bell & Howell Contest ■ A nation wide camera name and slogan contest is
being conducted by dealers under the auspices of the
Bell & Howell Company, Chicago, Illinois. Stores featuring this contest are to
display in their show windows twelve of the new Field Model Filmo 75 cameras in
different finishes. The person who submits the best name for any one of nine
specified finishes receives one of these cameras from the local dealer as a prize. In
addition, each winner of such a local prize is eligible for the grand prize of a Filmo
Model J projector, which is to be awarded directly from the Chicago office. Anyone
may participate in the contest except officers and employees of the Bell & Howell
Company or their dealers. No purchases of any sort are required to enter. Readers
interested in competing should consult their local Bell & Howell dealer, it is said.
Pam-O-Craph ■ A new, self contained device for recording and reproducing
speech or music will interest those amateurs who desire to per-
form synchronizing experiments. The apparatus is a product of the Samson Electric
Company of Canton, Mass., and incorporates a 78 r.p.m. recording turntable, sepa-
rate recording and playback heads, two button carbon microphone with fifteen foot
extension cord, visual volume indicator and Samson amplifier and loudspeaker. The
recording is done on an aluminum disk and tests made at the office of C. J. Brown,
New York representative, disclosed the fact that the "mike" had a reasonable area of
sensitivity. An interesting feature of the recorder is found in the Neon glow lamp
which automatically indicates the volume level. Standard home phonograph records
may be reproduced on the machine. No external mechanical connection is as yet
provided for synchronizing purposes.
Nova recorder ■ ^ne increasing demand for aluminum disk recorders on the
part of the amateur brings a new product, the Nova Electro
Mechanical Recorder, manufactured by Nova Company, 338 Berry Street, Brooklyn,
N. Y. The complete Nova recorder is compactly enclosed in a carrying case and is
entirely self contained, needing only a connection to the ordinary 110 volt, 60 cycle,
A.C. supply. A two button carbon microphone is included in the outfit and an
extension cord allows the placing of the "mike" in the most convenient position.
Recording is done on an aluminum disk at 78 r.p.m. and an efficient amplifying
system is incorporated. Playback may be made immediately with fiber needles and
ordinary records may be played with steel needles. [Continued on page 28]
28
JANUARY 1932
How to Make
BETTER PICTURES
Do you achieve the fullest measure of
beauty and artistry in your films?
Has your camera missed some of Amer-
ica's beauty spots in its travels?
The answer is the new book for the
amateur —
CAMERA SECRETS OF
HOLLYWOOD
By ROBERT C. BRUCE
. . . world-famed camera artist who has
given you the benefit of twenty years of
photographic adventure and achieve-
ment.
Simple terms, no puzzling technical lan-
guage, and priced at only
$1.25
{DeLttxe Edition in Keratol Leather, $1.75)
Camera Secrets Publishing Company
Metropolitan Studios
Hollywood California
Make More Money
'£ PHOTOGRAPHY
BIG OPPORTUNITIES
Interesting work, splendid demand every-
where for men and women. No previous
experience needed. Expert instructors
prepare you for the branch you like best —
at home in spare time or in our great
New York studios.
Send for FREE Book
It tells all about the varied opportunities.
Check which interests you most:
□ Motion picture photography and projection
Q Still photography (portrait, commer-
cial, news) and photo-finishing.
WRITE TODAY.
NEW YORK INSTITUTE OF PHOTOGRAPHY
Dept. 105 10 West 33rd St.. New York. N. Y.
READY-MADE
ART-TITLES
VACATION DAYS
WINTER SPORTS
THE FAMILY ALBUM
> r TOUCHDOWN!
^wlj CINE WANDERINGS
n Z) \ MEMORIES
^> ,0^ THE END
\> — and many others
If your dealer cannot
supply you, write for
complete list.
BURTON HOLMES LECTURES, Inc.
7.i 10 N. Ashland Avenue Chicago, 111.
ynim* CWijto and SiqlKHidj in TdJ
eAsfe youp dealep. op ujpile to
GEORGE H.SCHEIBE
PIIOTO-FIL.TEH SPECIALIST
News of the industry
[Continued from page 27]
Rentals reduced ■ A general reduc-
tion in film ren-
tal rates for all silent subjects has been
announced by Willoughbys, 110 West
32nd Street, New York City.
Central Camera bargains ■
A new bargain book, offered by the
Central Camera Company, Chicago,
should be of interest to amateurs look-
ing for additions to their outfit.
Pixy Pictures ■ Snort iengths of
stock scenes which
can be spliced into one's own 16mm.
films are offered the amateur in a re-
cently inaugurated stock library by
Ernest M. Reynolds, Cleveland, Ohio.
The collection is known as Pixy Pic-
tures and will be added to in accord-
ance with the demand.
Animation ■ Animated titles of
standard design or
made to specification are now offered
by the Novel Cine Title Company,
Council Bluffs, Iowa.
New titles ■ A new nrm> lon§ es-
tablished in another
industry, is to bring its resources to the
aid of the cine amateur in inaugurating
a title making department. Samples
submitted seem very worthy and pros-
pective title users may write directly
to J. C. Haile and Sons, 215 Walnut
Street, Cincinnati, Ohio, for complete
details of the service.
Heading south?
[Continued from page 17]
trip. Sadly he holds out his arms and
receives a sturdy suit box from a pair
of hands. Stop the camera, pile on
another box, shoot a few feet and so
on until long suffering Dad disappears
in this mysterious deluge.
Simply planned sequences of others
in the family against other backgrounds
and activities can be introduced in like
manner. Perhaps Sister has looked for-
ward to seeing the rhumba danced by
its creators or to joining in the paseo
on the Esplanade. Lead off such a se-
quence with a title covering her activi-
ties. Brother might like the swimming
at Marianao Beach or sightseeing over
at the Cabanas. Cover scenes of him
and of these backgrounds with a simi-
lar title.
Record films planned along the line
of the itinerary take the first step on
the course from the primarily personal
to the purely impersonal film treatment.
They tell the story of a trip but not
necessarily of the traveler. The per-
sonal element, though present, grows
general, standing for any traveler in
the activities of the trip. The scenic
element, though growing prominent,
does not yet exist alone but serves to
represent the scenes visited. Such
films, to be smooth flowing, call for
more detail in the telling and for a
more careful sequencing in the camera
treatment. A good general rule for this
is to plan the shooting from different
angles and distances of at least five
scenes of any subject to be filmed.
The travel short subject is, in one
way, the easiest to make of the three
general types. It calls for no introduc-
tion to the family, for presumably there
is no family. It demands no scenes of
life en route, of arrivals, departures,
etc. It is little more than a straightfor-
ward and determined effort on the part
of an unseen cameraman to catch the
physical and personal aspects of a city,
a country, a place or a people. In this
regard, it is a lone wolf job, needing
attention only from the cameraman.
But, in pure entertainment value,
it outstrips all the rest and should be
worth the most painstaking care.
Keys to editing
[Continued from page 16]
of movie shots of New York City, for
example, may be rearranged into a very
rhythmic series of subjects dealing re-
spectively with traffic, tall buildings,
store windows, big ships, theatre fronts,
night lighting displays, noon hour
crowds, elevated railways, pet dogs and
their owners, parks, fashions, children,
churches, etc. The subtle effect of a
clearly segregated sequence is to facili-
tate reception. Right sequencing is the
simplest way to create rhythm.
Like any work of art, a film must
first be clear (complete enough to be
understood) ; then it must be smooth
running (economical of the spectator's
attention) ; last and most important, it
must be effective (productive of the
right kind of emotional response). It
is suspense that makes a picture effec-
tive. To build suspense, make sure that
the event is fully expected, then set up
a "menace," as it is known technically,
that delays and threatens its final real-
ization. The menace may be produced
by pauses or by inserted action. In a
melodrama, it will be just what the
word conveys in its popular acceptance,
the villain about to get away with the
papers, the hero about to be shot, etc.
In a comedy, the menace will be exactly
the opposite, since a comedy is a
drama in reverse, as it were.
Here, for example, are two small
children of Our Gang type getting a
disreputable old automobile ready for a
trip according to their own ideas. They
mix up the engine wiring, pour gaso-
line into the radiator, doubt the ca-
pacity of the tank and light a candle
MOVIE MAKERS
29
Make every film
tell all the story
Jrersonalize your
movies with titles of
your own creation.
It's both easy and in-
expensive with this
Cine-Kodak Titler.
''"T^HAT'S Jim, with his pipe, up at
JL the lake. Last summer, you
know." Words of hurried explana-
tion from you to your audience...
spoken words that distract attention
from the action on the screen.
Yet there's really no need to ex-
plain your pictures aloud. Let titles
tell the story. For every type of home
movie, titles heighten the interest. . .
add a professional touch.
You know how appropriate titles
flash to mind. Type them out . . . letter
them by hand... or write them in
script. Slip the card into the easel on
the Cine-Kodak Titler — and shoot.
The Cine-Kodak Titler, for mak-
ing your own typed or lettered titles,
art titles, Kodacolor titles, and for copy-
ing Kodak prints or filming small objects.
For use with all models of the Cine-Kodak,
except the "A." Price, complete with ioo
title cards, $6.50.
Either daylight or artificial light may
be used. With this simple device it's
easy to make professional-looking
titles. And it's fun!
You can make Kodacolor titles,
too. Colored illustrations from mag-
azines... colored wallpaper for title
backgrounds.
Another use for the Cine-Kodak
Titler is filming Kodak prints to com-
plete the family picture-record.
Stop in at your dealer's today.
Pick up a Cine-Kodak Titler and a
roll of Cine-Kodak Film. Eastman
Kodak Company, Rochester, N. Y.
30
JANUARY 1932
N
for Outdoor
Winter Movies
EWMANLITE
FLARES
Provide the most effective
illumination in this sphere
of work. Used with new su-
persensitive film, these make
night photography delig'ht-
fully and unbelievably sim-
ple. You achieve exquisite
effects in winter photog-
raphy. Fine granularities in
snow, light and play of shad-
ows on the wintry expanses —
photograph as never before.
Newmaniite Flares are used
by explorers and naturalists
the world over.
Booklet and prices
on request.
C.NEWMAN CO., Inc.
545 FIFTH AVENUE
NEW YORK, N. Y.
A REAL SENSATION
FOR 1932
for standard 16mm. 50 foot
daylight loading spools ; //2.9
anastigmat lens
PEICE 195 Beichsmarks; shipping charges and cus-
toms duties additional.
Small, light and handy. Has interchangeable lenses
and double claw.
Operates at three speeds, 8, 16 and 24 (talkie
speed). Adjustable to any speed between 8 and 24
limits.
Single and half speed (8 pictures) crank for hand
drive.
Although the price is very moderate, the workman-
ship of this camera is decidedly superior.
Among the lenses available for use with this camera
are: -
Steinheil-Cassar //2.9
Zeiss-Biotar //1-4
Meyer-Plasmat //1.5
Also the telepboto lenses of the same lens makers.
JeinmecAani& u"nd ' Mpparatebau
Munich 23, Germany
Sole agent for the U. S. A.
Burleigh Brooks, 127 West 42nd St.
New York
New York
to investigate it more closely. We ex-
pect an explosion with plenty of soot
(and nobody hurt, since it is a comedy)
and the "menace" will be anything that
delays the explosion. The candle may
flicker and go out, the cat may step
into the gasoline and make a trail that
might be ignited at any moment.
But what about a travelog, especially
if the director has not provided suffi-
cient material or sufficient pauses?
The "menace" in that case will be the
spectator's own doubt of what is com-
ing, his fear of the expected issue,
created largely by his own unaided
imagination. (Of course, the word
"menace" in the popular sense would
be highly misleading here.)
For example, a subtitle like The
dramatic tastes of Young Paris are cul-
tivated in public places has suspense
building value, because it challenges
the spectator, be it ever so briefly and
inaedquately, to make his guess as to
what is going to be shown, whereas a
subtitle for the same scene, reading
Punch and Judy shows are given daily
on the Champs Elysees, has told in ad-
vance what is coming and leaves noth-
ing to the imagination. In the same
way, a "reaction shot" showing what is
felt by the other party, placed ahead
of the "action shot," may increase the
suspense.
In any case, the editor should never
consider a sequence as complete until
he has done his best to add to its sus-
pense by changing the scenes around,
inserting supporting material from
other shots and preparing titles that
leave a good deal to the imagination.
Here, in a nutshell, are the three keys
to good editing — unbiased selection,
flowing rhythm, dramatic suspense.
Microcinematography
simplified
[Continued from page 14]
The illuminating system is simplicity
itself. An ordinary spotlight with a
piano convex lens is used. Either a
250 watt T14 or 500 watt T20 Mazda
lamp can be used. To protect the
material being photographed from
getting too hot and to condense the
light rays as nearly as possible to a
point on the microscope mirror, a 500
cubic cm. flask (Figure 1, E) filled
with distilled water is mounted in a
clamp between the light source and
mirror. The distance from the mirror is
determined by moving the flask back
and forth until the smallest light point
is projected upon the mirror. The mir-
ror is, of course, adjusted to throw the
maximum light up through the optical
system of the microscope.
The amount of light may seem a bit
too much but, in using the binocular
microscope, less than one half of the
light actually reaches the film and, for
the majority of the work, normal camera
speed is essential. However, the light
intensity may be varied by moving the
spotlight closer to or farther from the
condenser. Do not use the iris dia-
phragm in the substage condenser of
the microscope to lessen the illumina-
tion as this will destroy the resolving
JiHir M
Figure 1.
power of the objective. The most satis-
factory way to control the illumina-
tion is to place glass light filters of the
required color between the light source
and the microscope. If satisfactory
glass filters are not available, dissolv-
ing potassium bichromate crystals to
the desired density in the condensing
flask will work admirably.
Exact figures as to distances and
filter densities to be used cannot be
given in this article as they will vary
Figure 2.
with the type of material being photo-
graphed. Excellent photographs of un-
stained motile spermatozoa and pic-
tures of the fertilization of sea urchin
eggs have been made on ordinary re-
versal film at normal camera speed.
Panchromatic or the new supersensitive
panchromatic film will, no doubt, give
superior results.
What to film? Bacteria (harmless
ones, of course, unless you are ac-
quainted) offer possibilities. The teem-
ing life in the stagnant pools of the
vacant lot; bread molds and yeasts,
particularly the true yeasts of Bacchus
so diligently at work behind the stove
in the kitchen; the fertilization and
subsequent growth of sea urchin eggs,
if you live near the coast — these will
keep you fascinated for many an eve-
ning. A new world and a better under-
standing of optics and photography are
in store for the amateur undertaking
microcinematography.
MOVIE MAKERS
31
For The
Long Winter
Evenings
COMEDIES
SCENICS
SPORTS
EDUCATIONALS
A wide diversity
of subjects in-
cluding fact, fic-
tion and fun — edu-
cational, scenics anc
sports — comprises o
film library. In our ca
log, you will find
suitable for the most
differing tastes and ages.
Send for this catalog and make
up an entertaining list of sub-
jects for the long winter evenings.
EMPIRE SAFETY
FILM CO.
723 Seventh Ave.
New York, N. Y.
For greatest enjoyment
of your films, get an
AMPRO
PRECISION PROJ ECTOR
Stationery, Cards, Bookplates,
1 advertising, greeting cards etc
Easy rules furnished. Complete
Outfits $8.85 up. Job PresseB $11 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
catalog and all details. The Kelsey
Company. W-48, Meriden, Conn.
SMpPP Jleto J5ear
to all movie makers
and clients from Joe Maggio and
the Luma Camera Service. The
New Year ushers in some wonder-
ful values in cameras, projectors
and cinematic accessories of all
makes. Our personalized service
will enable you to witness interest-
ing and careful
demonstrations.
Start the New
Year right and
bring your cine
problems to
Opposite the
Hotel New
Yorker
LUMA
^Camera Service
302W.34THSt.
Amateur clubs
[Continued from page 18]
amateur movie clubs have made city
films, this is the first effort of a club
to prepare a state picture. The method
to be used is a simple one and, since
the Portland Club has a membership
of nearly one hundred excellent cam-
eramen, there will be a wealth of mate-
rial from which to edit the film. Mak-
ing such pictures is an important ser-
vice to city or state and any movie club
that undertakes it will find that it will
be repaid many fold for the effort.
lersey City ■ ^ m ° n § tne films
screened at the latest
meeting of the Hudson County Cine
Club in Jersey City, N. J., were pictures
of mountain climbing, filmed by Theo-
dore Koven, a newsreel made by
Joseph Schlitt, a record of historic
places filmed by Robert Shannon, a
summer vacation film made by William
H. Barlow and a film of dogs made by
Clinton E. Fisk. In all, ten excellent
reels were projected. A demonstration
of sound equipment is planned for the
next program.
L A. Contest • Harold Benner won
first prize in the
latest of the monthly contests held by
the Amateur Cine Club of Los Angeles,
Calif. Mr. Benner's clever film told the
story of a young married man who
went out to buy a ten dollar amateur
movie camera but came home with a
three hundred and fifty dollar outfit
and then started to film everything
within camera range. The hero's ama-
teur movie adventures make up 200
feet of delightful comedy of particular
interest to amateur cameramen. The
Los Angeles club holds an informal
contest each month. The films are
judged by membership vote expressed
by means of a score card, allocating
certain percentages to photography,
continuity, etc. A hundred foot roll of
film is offered as a prize. For a recent
contest, the prize was provided by the
Sunkist Movie Makers of Azusa, Calif.
C. E. Memory is publicity secretary of
the Los Angeles club.
Kodacolor photoplay ■ A n e w
high
school amateur movie club is the Seattle
Amateur Movie Club of the Roosevelt
High School in Seattle, Wash. An ama-
teur photoplay in Kodacolor is planned
as the first production. The faculty
advisor is A. Rarig; Earl Nelson
is president; Helen Hale, secretary;
Jack Blum, treasurer; Robert Jefferson,
chairman of the program committee.
This new club starts off with two
"firsts"; it is the first amateur movie
club in Seattle and it is the first club to
undertake a photoplay in Kodacolor.
All Good Pictures
are
Steady Pictures
the one sure way to
whip body- weave is
with a
THALHAMMER
TO be really enjoyable,
a picture must be rock
steady. Body-weave, the
wavy effect that mars so
many amateur films, is
easily eliminated with the
Thalhammer. The smooth
panoraming and tilting ac-
tion makes it easy to get
square on your object and
enables you to follow the
action perfectly. The Thai-
hammer Jr. illustrated above
is on display at most good
cine dealers. See it today.
Price $25.00
TUALHAMMEI^
I23 South Fremont Ave.
'i Los Angeles
Represented by Craig and Ampro
32
JANUARY 1932
CRfHG-
SPLICER *I5
You can make splices quickly, easily and
accurately on a Craig. Emulsion removed
without wetting film. All mechanical op-
eration assures perfect splices.
Combination Craig Splicer and two Thai-
hammer Silent Rewinders mounted on 32
inch laminated board. $25. OO complete.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
Start the New Year
right by resolving to
KODATJTIE
your movies as you take
them.
:
This will require
less effort on
your part as the
detai Is will be
fresh in your
mind.
Write for our il-
lustrated booklet
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
Movie Makers
Is Not All
ii
Of course, those who read Movie Makers get more
than value received for the amount this magazine
costs them.
But there is more to be had, a very big more and
for only an additional two dollars.
League services are individual, specific, definite
and practical and they save amateurs hundreds of
feet of poor movies.
Thousands use them; why don't you?
Change your subscription, if you are a subscriber,
into a membership for $2.00 additional.
If you are not even a subscriber, take out a mem-
bership for $5.00 a year.
USE THIS BLANK TO SECURE EXPERT AID
Date
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance
for $ , made payable to AMATEUR CINEMA LEAGUE, Inc., is enclosed
in payment of dues. Of this amount, I direct that $2 be applied to a year's subscription
to MOVIE MAKERS. (To nonmembers, subscription to MOVIE MAKERS is $3 in the
United States and possessions; $4.00 in Canada; $3.50 in other countries.)
MEMBERSHIP $5 a year (Canada $6).
LIFE MEMBERSHIP $100 in one payment and no further dues
Name Street
City State Country
One of the Amateur Cinema League's animated leaders is free with this membership.
Please state width you wish — 16 mm. — 9.5 mm. — 35 mm.
Siam ■ At a fall meeting of the Ama-
teur Cinema Association of
Siam, a twelve reel motion picture of
the recent trip of the King and Queen
of Siam to this country was screened.
The film was graciously loaned to the
Association by their Majesties. The
film constituted a complete record of
the trip and included sequences of the
visit to the White House and of the
operating theater in which the opera-
tion on the King's eyes was done.
Three more rolls of film have been
added to the list of prizes in the Asso-
ciation's current contest. A film of teak
logging in the north of Siam, made by
the Prince of Jainad, is to be loaned to
the League Club Library by the Asso-
ciation.
City air film ■ The Cinemats of
Mount Kisco, N. Y.,
have produced a film review of Mount
Kisco from the air. The pictures were
taken by a committee of four. At a
recent meeting, Arthur L. Gale ad-
dressed the club on continuity tech-
nique and members' films were pro-
jected. Among them were Sport Reel
by Dr. Charles F. Chapman; Autumn
Skies, filmed by Elizabeth Sansom;
Golf Tips by Kenneth Bloomer; Mount
Kisco From The Air, the club's film
record of its city.
ColumbllS ■ A late fall meeting of
the Cinema Club of
Columbus, Ohio, was held at the city's
Municipal Air Port, where club mem-
bers were guests of the commander of
the Port who screened for them a num-
ber of aviation films made by himself.
This active club has been holding an
informal contest each month with two
fifty foot rolls of film as prizes, one of
these being awarded for the best film
screened and the other by lot as a door
prize. For the benefit of other clubs,
James D. McAlister, president of the
Columbus club, states that, although
the plan of holding monthly contests is
a good one, it has been found that it
is necessary to vary it with other types
of contests as well as meetings at which
no contest is held.
U. S. C. ■ The Cinema Club of the
University of Southern Cali-
fornia at Los Angeles, headed by Dr.
Boris V. Morkovin. recently held its
first program meeting. The club, with
a membership of twenty five, was or-
ganized for the discussion of motion
picture technique and it is hoped that
members will undertake production.
Hunting Comedy ■ An informal
amateur pro-
duction group in Vineland, N. J., under
the leadership of Sidney Rosenthal, is
conducting screenings for various local
clubs and societies. Its first produc-
tion, a comedy based on a hunting ad-
venture, is entitled Little Squirt. The
MOVIE MAKERS
Fall Of The House Of Usher was pro-
jected at a late meeting, followed by a
discussion of its technical points.
9.5 to 35. ■ Tne projection of A
Trip To The South Sea
Islands And New Zealand, filmed by
Joseph Simons, was featured at a No-
vember meeting of the Chicago Cinema
Club. A later meeting was devoted to
the screening of members' pictures, the
projection including 9.5, 16, 28 and
35mm. widths, which exemplifies the
cosmopolitan nature of the Chicago
Cinema Club. Every member was re-
quested to bring a 100 foot roll for
projection and those who brought no
film were fined twenty five cents.
Rushes ■ G. Gronostayski of Vin-
cennes, France, reports
three general amateur movie associa-
tions in that country. They are the
Cine Amateur Section of the Societe
Francaise de Photographie, the Ama-
teur Cine Section of the Avant Garde
and the Club des Amateurs Cinenastes
en France.
■ The Amateur Cine Club of Fresno,
Calif., has begun a comedy, reports
Vahan Skendarian, president.
■ A cinema section of the Academy of
Science and Art of Pittsburgh, Pa., is
being planned. Charles K. Archer,
president of the Pittsburgh Salon of
Photographic Art, and Professor David
R. Craig, vice president, are aiding in
the organization of the new amateur
movie unit. This is the first effort to
form a movie club in Pittsburgh but,
with aid and cooperation offered from
every corner and with organizers al-
ready distinguished in the field of pho-
tography, the new club promises to
rival the oldest and best amateur clubs.
British amateurs
Newcastle ■ Three of the classifica-
tions in the current
contests being held by the Newcastle
and District A. C. A. were recently
judged, resulting in the award of first
prize in the 16mm. division to James
Cameron for Bird Life On Bass Rock.
Apart from its splendid pictorial qual-
ity, this picture was notable for its
exact treatment of the life of the Solan
goose. Second place in this class was
awarded C. Edgar Shaftoe for a film
record of a wedding. In the 9.5mm.
division, first prize went to T. Temple
for Cabbages And Things, an entertain-
ing film of farm life, and second prize
was awarded to A. S. Wilson for a
travel picture, 3,000 Miles Through
Europe. In the title division, the award
was given to R. A. Reay for the best
set of titles submitted. Judges were
A. L. Hitchin and Stephen Arthur.
33
JENA
ZEISS CINE LENSEi
are used throughout the world
BIOTAR F1.4JESSAR F2.7 and F3.5JELE-TESSAR F6.3
■ FINDERS ■ FILTERS - SUN-SHADES -
FOR STANDARD and 16 MM MOVIE CAMERAS
CARLZE1SS, INC., 485 FIFTH AVE., NEW YORK. 728 SO. HILL ST., LOS ANGELES
With the scientifically accurate
light-measuring ELECTROPHOT,
-photoelectric Exposure Meter, you
avoid the guesswork, waste film
a?id waste time of "tube squinting.'1
Pays for itself in film saved!
Perfect Exposures Every Time!
Why gamble away good footage and
good action by haphazard exposures?
The time was when you pressed the
button and prayed for results. But
no more! Now ELECTROPHOT au-
tomatically tells all you should know
(at a glance!) for correct exposure,
for special color work or superspeed
film.
Every shot can be a successful one, in-
cluding those quick shots which leave
no time for "visual" estimating. With
ELECTROPHOT all you do is snap it
out, point and press a button — then
read your lens setting direct from a
dial, scaled from //l to //32.
You need no longer depend upon the
doubtful judgment of the human eye.
ELECTROPHOT uses the scientifically
accurate "electric eye" and is developed
on proved principles used in profes-
sional talking picture work, color sort-
ing machines, photometry, etc. It is
compact, easy to carry. Crystal black
finish, chromium fittings. Price (in
the United States) only $35.00, com-
plete with genuine brown leather case.
See it at your dealer's or send for de-
scriptive folder.
ELECTROPHOT is a product of
J. THOS. RHAMSTINE
Manufacturer of precision electrical
apparatus for 12 years.
501 E. Woodbridge Detroit, Mich.
ELECTROPHOT
photoelectric EXPOSURE METER
34
JANUARY 1932
FOTH - DERBY
THIS light, compact, easily manipulated
instrument is the ideal still camera
for the movie maker. It is provided with
focal plane shutter with speeds up to 1/500
part of second, high speed anastigmat //3.5
lens and every optical and mechanical re-
finement essential to good photography.
Negatives enlarge beautifully. Investigate
this camera at your dealers or write for
free trial offer.
Takes 16 pictures on standard vest pocket
film. Picture size, 15/16 x 1 3/8 inches.
Price $30
BURLEIGH BROOKS, Distributors
127 W 42nd St. New York
GOERZ
CINE
LENSES
Resolution!
Better photography in the New
Year will be the result of a de-
termination to use the best lens
equipment available. We recom-
mend, to the makers of cine-
matic New Year's resolutions,
Coerz lenses for their accuracy,
efficiency and all round utility.
Goerz 2x Yellow Glass
Filters — suitable for win-
ter photography. They
will capture the fine
granularities of snow in
infinite and lifelike detail.
Booklet MM1 on request
Ski shooting
[Continued from page 15]
was hoped for and it was felt that the
winter had been a success. Next winter
it is hoped the sun will give snow
detail and contrasting shadows.
Some things will be done differently,
however. More closeups will be taken
of the curious and fantastic snow and
ice formations near tree line (although
the reason more were not secured last
winter was the piercing arctic wind
which made it agony to change films).
Frost laden branches tossed by the
wind will not be taken in a "panoram."
In taking traveling shots, another skier
will precede down the trail directly in
front of the camera. More shots of
subjects other than skiing will be
taken, subjects which add to the story,
such as the men before the race, show-
ing their equipment and frost covered
clothing, and shots of the futile at-
tempts to build a fire of ice laden
wood. Next year's filming will prob-
ably result in another list of errors
and omissions but it is hoped the above
will not be included.
C.P.GOERZAMERICAN OPTICALCp
3I7 EAST 34™ ST. NEWYORKCITy
''Nearer to
the heart's desire''
[Continued from page 19]
special boss is attached permanently to
the top of the camera; this carries in
its base a tripod socket so that the
camera can be firmly attached upside
down to the tripod for all reverse mo-
tion shots.
Two tilting tripod heads are used,
with their tilting axes at right angles
to each other. This means that the
camera may be tilted, not only in a
plane at right angles to the front of the
camera, but rocked from side to side if
this effect is desired for any special
reason. This double mount is really
a universal tripod head in the fullest
sense of the word.
A focusing magnifier is attached to
the side wall of the camera in such a
way that any one of the lenses in the
spider turret may be centered optically
with it. This lens may then be critically
focused on the object and returned to
its taking position.
An exposure meter is permanently
attached in a convenient position for
reading.
A distance meter is fastened to the
finder tube alongside the peep sight
end; this enables the focusing distance
along the horizontal lines of the scene
to be ascertained quickly and accu-
rately.
The camera thus equipped is some-
what loaded, it is true, but its owner
has the satisfaction of knowing that all
photographic aids are with the camera
when there is need of them.
Old timers!
REDUCTION PRINTS FROM
28mm. — 1 7.5mm. to *|^L
9.5mm. — enlarged to |Omm.
GEORGE W. COLBURN
7228 N. Clark St. Chicago
N0 PICTURE
IS COMPLETE
WITHOUT
lrofessional LookingT^^^^^^^J^^
16mm. Printed Titles. r%. O ^Z^J"
SEND FOR CATAL06U£ AND SAMPl £S jmt *J * UP.
^Western ConemaTotle Co.
Si?) P.O. Box. 793. GWla Vista, California.
UNIVERSAL
$1 e.oo
I Oi
2 BUTTON
HANDS-MIKE ■ «LIST
Maximum volume, minimum
hiss, scientifically damped.
Truly natural in tone and
the most rugged microphone
yet devised. No delicate parts to
be damaged if dropped, jarred
or roughly handled. For an-
nouncing, transmitting or home
recording. Our Engineering De-
partment is at your service.
New catalog covers twelve
models from $5.00 up.
UNIVERSAL MICROPHONE CO., Ltd.
II 63 Hyde Park Blvd., Inglewood, Calif., U.S.A.
Get an
AMPRO
PRECISION PROJECTOR
for theatre brilliance and
large picture size
DON'T EXCHANGE
YOUR I6mm. FILMS
Until You Cet
OUR BIG FREE LIST
We have scores of the finest subjects, ranging
in length from I00 to 2000 feet. Among these
are dozens of the latest Burton Holmes re-
leases, the most popular Cine Art subjects,
Felix Cartoons, Fairyland Cinegraphs for the
kiddies and countless others of every variety.
You can obtain these films in exchange for
your present subjects at the most reasonable
fees.
Write today for our catalogue; it's free.
EASTIN FEATURE FILMS
GALESBURG. ILLINOIS
MOVIE MAKERS
35
CloseUDS — What amateurs are doing
JAMES W. MOORE
A West African ferryman
from Henry C. Wing film
■ A four reel, 16 mm. picture of native
life and the medical work of the mis-
sionaries in Cameroun, West Africa, has
been completed by Henry C. Wing,
A. C. L., and edited and titled by How-
ard E. Wing. Although the film fea-
tures the life and environment of those
natives as affected by white people,
an exceptionally interesting section
presents life in a village untouched by
civilization. Mr. Wing is now making
another film in Africa which will be
based on a dramatic treatment similar
to the professional picture, Tabu.
■ When the School of Science building
was razed by fire nearly three years
ago at Princeton University, under-
graduate Laurence B. Rentschler was
on hand with his amateur camera, shot
two hundred feet of film and thus
added a splendid sequence to his grow-
ing record of campus life. This was
before the days when superspeed emul-
sions made such filming easy. Now,
the almost completed record stands
at twelve hundred feet, in the last part
of which he depicts on the new film
such heretofore unavailable indoor
sports as basketball, boxing, fencing,
wrestling, handball, gymnastics and
rowing practice on machines. His lat-
est achievement has been the filming
of Princeton's annual cane spree be-
tween the freshman and sophomore
classes, a sequence that was shot out-
doors at night by the use of flares.
Striking
recorded by
scene of fire
L. B. Rentschler
■ In Modern Ski Technique, 800 ft.,
16 mm., one will find a splendid ex-
ample of amateur movie making as the
hobbyist's hobby, as in a previously re-
ported sports film, Tying A Dry Salmon
Fly. A keen devotee of skiing, League
member John W. McCrillis, New-
port, N. H., has produced a thorough
going and generally fascinating film
showing all of the essentials which a
skier should know in order to ascend
a mountain and make a safe descent
under constant control. Elementary
points such as how to hold the poles,
how to climb and how to turn around
are shown first. Fifteen different turns
are then demonstrated, with admoni-
tions as to what one should and should
not do in executing them, and the film
concludes happily with scenes showing
the practical applications of these turns
in actual mountain skiing.
A "ghost town" station,
filmed by Richard L. Bare
■ Filming a railroad station without a
railway was one of the adventures of
League member Richard L. Bare, Mo-
desto, Calif., on a recent trip to the
deserted "ghost towns" of Nevada.
These places, once active mining com-
munities in a forgotten gold rush of
thirty years ago, now stand grass
grown, sun scorched and empty. Beside
the sequences of the long abandoned
railroad station at Rhyolite, which cost
more than $40,000 to build, Mr. Bare
made scenic studies of Aurora, once a
booming town of 15,000, and of its
famous Crystal Bar chandelier and of
a strange relic of the frontier days, a
house built entirely of whiskey bottles.
• An amateur film has recently taken
its place alongside other documents in
the cornerstone of a new clubhouse at
Compton, Calif. The reel, which was
made by a member of the Pathfinder's
Club of that city, shows the old club-
house before its passing, many of the
operations in the building of the new
one and includes a picture of each
member present at the formal opening.
The film has been hermetically sealed
and will be shown on the reopening of
the cornerstone in the distant future.
N
W
2|apppJ?tetoJJear!
To his clients in the far flung
places of the earth — Tasmania,
Alaska, the British Isles, Sumat-
ra, Japan — to clients in more
adjacent places, Ralph R. Eno
extends his sincerest wishes for
a happy and prosperous New
Year.
•
FREE
TEST FILM
Test Film obviates the nuisance of
having your introductory titles go
by before your film is well focused.
While your lights are still on, a
correct focus may be obtained if
Eno's Test Strip is spliced into your
leader.
Send $2.00 and copy for two short
titles. A Test Strip will be given
free with every order.
DISTINCTIVE KODACOLOR TITLES
(Hand Lettered or Printed)
48 HOUR SERVICE
•
RALPH R. ENO
America's Pioneer (16mm.) Art Title
Builder and Film Editor. Charter
Member A. C. L.
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
Telephones: PEnn 6-2634 PEnn 6-7747
4
36
Get a Copy of Our
BARGAIN BOOK
it's different I
From cover to cover, it's loaded
with real "buys" in foreign and
domestic, still and motion picture
cameras and accessories, including
optical goods. Every item a gen-
uine bargain and sold on ten days
free trial. Money refunded if
not satisfied. WRITE TODAY.
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM-1F
Chicago, III.
Th
TITLE YOUR FILMS
1 6 mm. titles from type forms set by hand
Send 4c in stamps for sample and price card
J. C. HAILE & SONS
Motion Picture Dept.
2I5 WALNUT ST. CINCINNATI, 0.
"On the Waves at Waikiki"
A I50 ft., 16 mm., subject featuring Night-
hawk, canine king of surfboard riders.
Price (150 ft.) $9.75
GUY D. HASELTON
Christie Hotel Bldg.
Hollywood, Calif.
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
LxCHANGE •%£■££
Send your old film, plus $1.50 and return f
postage, for one of the many interesting sub-
jects available at Navilio's.
NAVILIO FILM RENTAL LIBRARY
To Members
400 ft. subject 60c. a day
5 to 9 reel feature $1.50 a day
Send for membership blank
Dealers: Write for interesting
Telephone: Dickens 2-1720
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N.Y.
e clinic
[Continued from page 11]
I visited a tailor friend and explained
my requirements. He made for me a sort
of oversize vest on the order of a hunt-
ing jacket, of cheap but durable ma-
terial, with specific pockets to fit lenses,
filters and the rest and with provision
even for an extra roll of film or two.
The result is that I can equip my tur-
rent camera with its standard com-
plement of lenses, carry my color and
corrective filters, a roll of color and
superspeed film for needed use and a
number of other desirable accessories.
The cost was only $7.75 in all and it
was certainly worth it. The cine jacket
can be worn over an ordinary vest and
under a suit coat, as it is sleeveless and
buttons down the front. It is only
slightly larger than an ordinary vest.
— West W. Johnson.
Stunt of the month ■ The use of
the small
paste letters, sold in packages for alpha-
bet soup, as an aid to title making is
the novel and effective idea claimed by
League member John H. Ross. He says,
"Some of these letters are yellow and
some white but the white ones are most
desirable. I have eliminated all but a
certain brand as these letters are light
and very uniform in size and shape. By
picking over a ten cent box of letters,
one may find hundreds of perfect ones.
I use the letters in my small title writer
as their size is just right for the area
covered. Perhaps the most convenient
way to photograph them is to arrange
the title surface horizontally so the let-
ters will simply rest in position. How-
ever, if it is desired to keep the title in
its more usual vertical position, the
letters may be fastened in place with
a little mucilage or rubber cement. The
latter is preferable, as it leaves no spots
and can be removed after use. I use a
pair of tweezers in placing the letters
on the title card. At one side of my
work bench, I put a little pool of muci-
lage or cement, pick up the letters with
the tweezers, very lightly touch them to
the cement and then place them on the
card. These little characters lend them-
selves very well to animated titles. For
a simply achieved and startling effect,
one may place the letters upside down
on the card to spell out the wording.
Then, while the camera is running, the
card may be tapped on the edge and
the letters will lose their alignment,
scatter over the card and perhaps some
will fall off. When this is reversed on
the screen, it gives the magical effect
of the jumbled up letters rearranging
themselves. Other uses of the soup let-
ters are many. They may be colored
with water colors for color titles or
painted black for direct positive work."
JANUARY 1932
Titles that titillate
[Continued from page 31]
splicing it into the picture and, if
done correctly, a very beautiful effect
will result. First the background
alone will be seen and then waves of
color will ripple down and stop at the
proper place to form the title's letters.
Another good title for beach or vaca-
tion pictures is made by painting the
title on a dark board or flat stone with
white paint and sprinkling sand on it
before it dries. When dry, lay it on
the ground at a slight angle and put
the camera in place to shoot and then
cover the whole rock or board with a
thin coating of sand so the title cannot
be seen. For effect, a print on it with
a hand or bare foot might be made.
After a few frames are shot, the sand
should be blown off by fanning with a
hat or whatever is handy until the
lettering is uncovered.
At certain times, it is desired to use
a picture for a title background and
yet not to mar it by pasting on letters
or the like. This can be achieved in
several ways. First, if the title is short,
cut the letters out of a piece of heavy
paper of a contrasting color and lay
them on the picture, shooting vertically.
Or, one may take a large piece of wall-
paper, cut a hole in it through which
the picture will show and do the let-
tering on the wallpaper border. Thus
the lettering frames the picture. A
third way is to paint the title on a
piece of glass or celluloid which can
be placed over the picture, shooting
both together. If glass or celluloid is
used, do the lettering with water colors
which can be easily washed off when
the title is finished. The regular show-
card colors work well on glass but
need to be thinned with a little water
for card or paper work. Reflections
must be avoided if the glass or celluloid
is used.
These are but a few suggestions con-
cerning the ways in which original
titles may be made. They are capable
of many improvements and diversifica-
tions but the principle to be desired is
that the amateur take an interest in
doing these things.
Educational films
[Continued from page 20]
Ramsay B. Shaw, pioneer in forward-
ing visual instruction in Canada. With
representatives in the provinces, the
association will act as clearing house
for educational film information and
distribution. It has among its aims
facilitation of free importation and dis-
tribution of British and American in-
structional films for correlation with
MOVIE MAKERS
37
Canadian school and university studies;
provision of facilities for filming Cana-
dian educationals and circulation in
the United States and British Empire
of films on Canada. It is said to have
support of Canadian government bu-
reaus and school authorities throughout
the Dominion.
B A series of 16mm. films to accom-
pany teaching suggestions in vocational
agriculture is being produced by
L. D. Klemmedson, A.C.L., associate
professor of agricultural education at
the University of Arizona, Tucson.
■ Produced by the Bureau Of Visual
Instruction, University of Wisconsin, an
excellent three reel film, Wisconsin, Its
Government At Work, is to be dis-
tributed to schools for use in teaching
state government.
■ A 16mm. film of sports, various other
activities and of faculty and pupils is
being made by students of St. Paul
(Minn.) Academy to replace the tradi-
tional yearbook. Prints will be avail-
able to students.
Welfare ■ School Is Over, 600 ft.
16mm., Passaic Boys'
Club Summer Camp film, made by H.
H. Vanderberg, A.C.L., camp director,
compares moral and physical advan-
tages offered a boy sent to summer
camp with those of one left to his own
resources in the city. The film will be
used as a record of the camp season
and as an aid in raising funds to con-
tinue the good work of the camp next
year.
Church ■ Contributing proceeds to
missionary work in India,
personal 16mm. films of a 'round the
world trip have been presented with a
lecture to audiences of nearly 10,000
by Oscar L. Bodenhausen, St. Joseph,
Mo. Certainly many movie makers have
interesting films that could be effec-
tively used to further similar worthy
church projects.
Legal ■ An eight reel 16mm. film,
said by Federal agents to
have been secretly taken of a violator
of the prohibition laws, was screened
in the Kansas City Federal Court re-
cently. The showing came as a sur-
prise to the defendant, it is reported.
■ Evidence as to the amount of traffic
at a certain street intersection was re-
cently introduced to a court at Char-
lotte, N. C, in the form of a 16mm.
film produced by George Adams, A.C.L.
FRFF Fll KA^ ^These films, on 16, unless
' RLt riUIVIO m35mt„m is specified, are
loaned free except for -payment of postage. Re-
quests should be addressed to the Amateur Cin-
ema League, Inc., 105 W. 40th St., N. Y. C,
and films desired mentioned by titles. Requests,
on receipt, are forwarded to distributors who
get in touch with applicants and make booking
arrangements. Specific dates cannot be promised
until the applicant hears from the distributor.
Do not send postage with requests ; when it is
required, the distributor will notify the appli-
cant. Of course, films should be returned post-
paid. Some films are limited to groups, in which
cases it is so stated in the review. In applying
for films limited to groups, the type and prob-
able size of the audience jnust be mentioned.
Films are not available outside of the United
States, unless so stated. Any amateur may apply
for films reviewed as this service is not limited
to Amateur Cinema League members.
■ The Earth's Four Corners, 200 feet,
16 and 35mm.. produced by Visugraphic
Pictures, Inc., takes one to various
parts of the earth contributing mate-
rials for the making of radio tubes.
China, Australia, Russia, Brazil, Eng-
land, Canada, California and Missis-
sippi are visited and processes in the
manufacture of the tubes are shown.
■ The Island of Yesterday, one reel, 16
and 35mm., reviewed through the Good-
year Tire & Rubber Co., shows a Suma-
tran jungle turned into a productive
rubber plantation. Interesting scenes
of natives are included.
^Cotton, From Seed To Cloth, two
reels, 16 and 35mm., one of the Har-
vard series produced by Films Of Com-
merce, Inc., covers this subject unusu-
ally well. A teacher's guide, prepared
by Dr. Mather of Harvard, is available
on request, as also is a reprint for dis-
tribution to the spectators. Available to
schools and other large groups.
■ Through Life's Windows, one reel, 16
and 35mm., reviewed through the
American Optical Company, is an edu-
cational film on eyesight which shows
headaches, inefficiency in work and ac-
cidents to be results of defective vision.
By animation and models, the mechan-
ics of the eye are shown and the com-
parison between the eye and camera
lens is drawn. Every movie maker
should be interested in the diagram il-
lustrating astigmatism and the film
should be of value to schools in im-
pressing the necessity of good vision.
Available for groups.
■ The Apprentice Course, two reels, 16
and 35mm., reviewed through the Gen-
eral Electric Company, shows how high
school graduates are offered several
training courses to fit these young men
for responsible positions in the G. E.
organization. The film covers the work
of apprentices in classroom, drafting
room, foundry, machine shop and test-
ing laboratory and is available to
groups. (See item four, page 20.)
■ Tivo Questions — One Answer, one
reel, 16mm., reviewed through the Bell
& Howell Co., shows an effective sys-
tem of apprentice training which
equips young men for skilled work-
manship and assures industry of a sup-
ply of efficient mechanics. Of espe-
cial interest for vocational guidance
courses, this film is available to schools
and industries for group showings. (See
item four, page 20.)
NOW take
Beautiful Pic-
tures in your
own HOME.
Every quality
you have wanted
in your indoor
movies Plus un-
restricted action
is now possible ^%
when you illum-
inate with
FOTOLITE
For with Fotolites (exclusive chem-
ical finish) you can take sparkling
— clear pictures right in your home
even on dark days and at night. Most
light with lowest equipment cost.
Models 5, 10 and 15 Fotolite
range in price from $6.00 to
$16.00 (without bulbs).
THE STANRITE TRIPOD
AND PANRITE
Professionals and
serious amateurs
find the new
STANRITE
TRIPOD and the
PANRITE
TILTING
T O P an
ideal combi-
nation. As-
sure steady
running pic-
tures at any
angle. Fit
any camera.
Light weight.
Beautiful
construction
(mahoga ny
and chromi-
um.)
Stanrite Tripod,
$12.00
Panrite Tilting
Top $9.00
NEW
10 REEL
Film
Carrying Case
This Beauti-
ful case is
equip ped
with a spe-
cially designed removable moistener
which permits moistening without
danger of damaging films.
10 Reel, $6.50 20 Reel, $9.00.
TESTRITE INSTRUMENT CO.
57 E. 11th Street, N. Y. C.
Without obligation send free par-
ticlars.
To
Address
38
JANUARY 1932
Life's
Most Embarrassing
M.oment I
i
SOMETHING'S
HAPPENED TO
THE FILM!
You turn on
the lights
while your
audience
buzzes
politely to
ease the
situation . . .
WHY
CO
THROUGH
ALL
THIS?
ATTACH THE NEW IMPROVED
W. B. & E. PILOTLICHT
to your projector and keep your troubles
to yourself.
Easiest thing in the world to operate.
Pull the switch and there's your light,
just where you need it.
Price $6.00
From your dealer or direct
Williams, Brown 8C Earle, Inc.
918 Chestnut St.,
Philadelphia, Pa.
©
TITLES
AC.S — ' Complete editing and titling
I YESTERDAY! service. (16 mm. or stand-
/Q^. ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendalc 0011
DETROIT, MICH.
16mm. FILMS
Reduced from standard negatives
The Big Step (Unique Canal
lock pictures)
Intimate Views Of Cleveland
Miami, Fla., The Magic City
Each subject 100 ft. in length
Priced at $6.00 each.
SIMPLEX FILM CLEANER
Will remove grease and finger prints from
your film and better projection is assured.
Complete with cleaning fluid and instruc-
tions.
Priced at $8.00.
SIMPLEX FADING GLASS
In carrying case and with instructions.
Priced at $2.00.
Get PIXY PICTURE list of short subjects.
Produced by
ERNEST M. REYNOLDS
165 E. 191st Street, Cleveland, Ohio
Let us be clear
[Continued from page 12]
one tenth of it and it is the last
tenth which gives the place its
character, its atmosphere. One may
enter a room and exclaim, "This does
not appear to be lived in!" An almost
identical room will cause one to ex-
claim, "Now, this looks like a home!"
The difference may be the placing of a
few cushions, the arrangement of seats
in relation to sources of light, showing
that people do use them to sit in and
read in, the casual appearance of a
morning newspaper carelessly folded
in the wrong place, next to a pair of
spectacles. These details are the ex-
pository paragraphs of photography.
In the studios, the dressing of the set
is left to the chief property man, sub-
ject to approval by the assistant direc-
tor when he sees the things in place. A
property man's list of the simplest cot-
tage interior or plain living room would
make the novice dizzy, running as it
does into scores of items without which
the scene would look unreal or false.
(From the amateur photoplay view-
point, probably the greatest single ad-
vantage of the new superspeed film is
that it will make possible the use of
real interiors instead of more or less
fabricated sets, too often lacking the.
vital spark that comes from trifles.)
These odds and ends, judiciously se-
lected, can be made highly expressive
of the social standing, the financial cir-
cumstances, the family relationship,
even the individual temperaments of
the people concerned. Even the prop-
erty man's written list is subject to
interpretation according to the script.
The wide range between old fashioned,
conservative, middle class, refined,
luxurious and exotic, means that, for
every piece selected, there must be a
deliberate choice of effect.
It makes all the difference between
one characterization and another
whether a girl is leading two borzois or
one police dog.
The amateur producer who takes for
granted that his audience will under-
stand what is on his mind and that
it will judge solely by the overt acts,
is courting failure because he is not
doing with his medium what the writer
does with his. He is neglecting the
expository material which alone can
prepare the spectator for the develop-
ments of character and situation which
constitute the plot. The more faithfully
those incidents are planned — indirectly,
subtly but unmistakably — the more
smoothly will the action proceed to a
climax. Let us not despise the bridges
we have to cross.
LEICA
CAMERAS OF DISTINCTION
BELL & HOWELL
MOTION PICTURE EQUIPMENT
ZEISS
CHOSEN BY MANY
EASTMAN
CINE'-KODAKS
UFACRAMS
SCIENCE -TRAVEL- EDUCATION
ADVENTURE
CRAFLEX
W. W. KIMBALL CO.
Established 1857
31 East Jackson Blvd. Chicago
ART TITLES *3c
A
WORD
Twenty Smart Styles
Beautiful art borders for
winter scenes, air shots, wed-
dings, baby pictures, tropical
films, scenics, ocean voyages
and all other requirements.
Titles furnished on film with
any border desired — 8 words
or less per title for 25c. extra
words 3c each. Minimum or-
der $1.00. Free The End with each order. Write for
illustrated folder showing all styles.
MAIN TITLES
with beautiful basrelief letters on suitable photographic
backgrounds. On film, with fade out at end, $2.00 for
4 words or less. Extra words $.25 each. Sample free.
THE ART TITLE GUILDE
6208 N. LEAVITT ST. CHICAGO
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBEPAMMERGAU stage play-
RELIGIOUS -INSPIRING - EDUCATIONAL
5 REELS -2000 FT.-I6 MM.
(COMPLETE STORV ) Price (M50.00
Buy OR RENT FROM DEALER OR DIRECT FROM
37 CHURCH ST.
BOSTON, MASS .
■iimnviMiK'
Go to your dealer
for a demonstration of
The NEW AM PRO
PRECISION PROJECTOR
EXCHANGE
YOUR 16mm. LIBRARY FILMS
500 SUBJECTS
Write for list
New Subjects for sale at
specially reduced prices.
Manhattan Film Rental Library
5115 18th Ave. Brooklyn, N. Y.
Standard Equipment
Film and Accessories
tuS 50% OFF
/ I6MM. QRS — Devry Beaded A A A
BRARY '/^ Screen (Reg. $12.50) ^.TT
New I6MM
L
SUBJECTS
Size 38 X 30
PATHPY DeLuxe Projector 1 (L Cft
r/AinEA (Reg $39) Complete ■°--'u
PATHEX 9'/2 MM. RAW FILM $1.49
Panchromatic 16 MM. Raw Film. 100'. $4.50
EASTMAN PKrtectoC; 35.95 $c3To
Bell & Howell Titler. complete. $25.50
QRS— DeVry 16 MM. Outfit CQC
with Sound and Case. Reg. $250.00 4>°->
100' Talking Feature (with disc). $5.49
400' Talking Feature (with disc). $14.49
MogullBros.,1944BostonRd.,N.YC.
Mail Orders Filled Day of Receipt! Before
You Buy — Always get our lower price!
MOVIE MAKERS
39
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Carry This Magazine — VISIT THEM !
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
ARKANSAS
Texarkana: H. V. Beasley Co., 200 E. Broad St.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. V. Hmk & Son, Sliattuck & Kittredge.
Fresno: Potter Drug Co., 1112 Fulton Ave.
Sliaver Lake Photo Shop, 910 Arthur Ave.
Gl.endale: Cine-Electric & Optical Studio, 163 S.
Central Ave.
Kug-Art Photo Service, 507 W. Colorado
Blvd.
Mowry's Photo Service, 223 S. Brand Blvd.
Hollywood: Hollywood Camera Exchange, 1511
N. Cahuenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
Hollywood Film Enterprises, Inc., 6058 Sun-
set Blvd.
Strasburg's of Hollywood, 6730 Hollywood
Blvd.
Long Beach: Wier's Photo Shop, 142 Pine
Ave.
W instead Bros. Inc., 244 Pine Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 129 W. Sec-
ond St., American Bank Bldg.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
B. B. Nichols, Inc., 731 S. Hope St.
Schwabacher-Frey Stationery Co., 734 S.
Broadway.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Wylie Wells Kelley Film Lab., 829 Harrison
St.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
F. W. Reed Co., 176 E. Colorado St.
Porterville: Claubes' Pharmacy, 501 N. Main
St.
Riverside: F. W. Twogood, 700 Main St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fifth St.
Homer C. Miller, 531 B St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Trainer-Parsons Optical Co., 228 Post St.
Westwood Cinema Studios, 1608 Ocean Ave.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Pedro: Sunset Photo Supply, Inc., 319 W.
6th St.
San Rafael: Webb & Rogers. 4th and B. Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: J. W. Collinge, 1127 State St.
Tri Counties Electric Supply Co., 27 Parker
Way.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
Ventura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop. 404 Sixteenth St.
Kendrick-Bellamy Co., 16th St. at Stout.
CONNECTICUT
Bridgeport: Fritz & Havvley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Greenwich: Gayle A. Foster, 9 Perryridge Rd.
Hartford: Harrison Harries. 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
Naugatuck: Leary's Drug Store, 217 Church St.
New Haven: Fritz & Hawley, Inc.. 816 Chapel
St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller's & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
Miami: Miami Photo Supply Co., 12 N. E. First
Ave.
Tropical Camera Stores, Inc., 123 Second St.,
N. E.
Palm Beach: Robison's Camera Shop, 206 Royal
Palm Way.
St. Petersburg: Robison's Camera Shop. 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
ILLINOIS
Chicago: BASS CAMERA CO., INC., 179 W.
Madison St.
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
1645 Orrington Ave.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The. Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
W. W. KIMBALL CO., Motion Picture Dept.,
31 E. Jackson Blvd.
Lyon & Healy, Inc., Jackson Blvd. & Wabash
Ave.
Norman-Willets Co., 318 Washington St.
Post Office News Co., 37 W. Monroe St.
Royal Radio Co., Cine Dept., 661 N. Michi-
gan Ave.
Seamans. Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Von Lengerke & Antoine. 33 S. Wabash Ave.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co.. 108 N. Vermillion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc.. 702 Church St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort- Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Avres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd and Jefferson
St.
Carroll: Rexall Store, 120 W. 5th St.
Cedar Rapids: Camera Shop. 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store. 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 60S
Pierce St.
Lynn's Photo Finishing, Inc.. 419 Pierce P*
Waterloo: Seehawk Camera Shop-Studio, 189
W. 4th St.
KANSAS
Topeka: Hall Stationery Co.. 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons. 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
MARYLAND
Baltimore: Eastmann Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp-Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and^ Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: James W. Brine Co., 92 Summer St.
Charles H. Chase, 44 Bromfield St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co.. 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Brockton: Iris Pharmacv. 230 Park Blvd.
Raymond C. Lake. 218 Main St.
Lowell: Donaldson's, 75 Merrimack St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Homovie Service, 45 Summit
Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: T. E. Cheney & Staff. Inc.. 301
Bridge St.
Harvev & Lewis Co.. 1503 Main St.
C. Rogers & Co.. 1245 Main St.
Tewksbury: Mark J. McCann. 23 North St.
Worcester: T. C. Freeman & Co.. 376 Main St.
- L. B. Wheaton. 368 Main St.
(Co7dinued on page 40)
40
JANUARY 1932
(Continued from page 39)
MICHIGAN
Bay City: Bay City Hchv. Co., Sporting Goods
Dept., 1009-15 Saginaw St.
Detroit: CLARK CINE-SERVICE, Km. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixtli Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
J. L. Hudson Co., Dept. 290.
Metropolitan Motion Picture Co., 2310 Cass
Ave.
E. B. Meyrowitz, Inc., 1516 Washington Blvd.
Flint: Gardner Photo Service. 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Jackson Ave.,
W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Vans Cine Service, 600 Prudden Bldg.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Co-operative Photo Supply Co., 381-3
Minnesota St.
Eastman Kodak Stores Co., Kodak Bldg., 91
E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 915
Grand Ave.
1006 Main St.
21 E. 11th St.
Hanley Photo & Radio Shop, 116 E. 10th St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Mam
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
Richard Hardcastle Co., Paul Brown Bldg.,
Olive at 9th St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O.
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artist's Photo Service, 19 Fourth St.
Maplewood: John H. Osmun, 174 Maplewood
Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Summit: D. A. Ryer, Inc., 35 Summit Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
Vineland: Robbins Photo Service, Inc., 615
Landis Ave.
West Englewood: C. M. Vanderbilt, Inc., 374
Briarcliffa Rd.
West New York: Rembrandt Studio, 462 Ber-
genlino Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co., 465 Broadw.,.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
BRf>rjKLYN: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob Studio, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Corning: Ecker Drug Store, 47 E. Market St.
at Cedar.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Home Movies, 30 Dvision Street.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 173 E. 60th St.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
Abe Cohen's Camera Exchange. 120 Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
FILM FEATURETTES, INC., 130 W. 46th St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Gloeckner & Newby Co.. 9 Church St.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician. Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th. Sts.
LUMA CAMERA SERVICE, INC., 302 W.
34th St.
Marcus Photo Service, 1170 St. Nicholas Ave.
Medo Photo Supply Corp.. 323-325 W. 37th St.
Meta Photo Supply Co.. 122 Cedar St.
E. B. Meyrowitz, Inc.. 520 Fifth Ave.
MOGULL BROS., 1944 Boston Rd.
New York Camera Exchange, 109 Fulton St.
Y. Nomi, 174 W. 95th St.
Parker and Battersby. 146 W. 42nd St.
Pickup & Brown, 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
G. Tankus, 837 Seventh Ave.
WILLOUGHBYS, 110 W. 32nd St.
Pelham: Kolf & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co.. 36 East Ave.
Sibley, Lindsay & Curr Co., Camera Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Alex. Grants Sons, 119 E. Washington
St.
Francis Hendricks Co.. Inc.. 339 S. Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Vonkers W. J. Dolega, 242 Nepperhan Ave.
Joseph F. Blatzheim, 4-6 Riverdale Ave.
NORTH CAROLINA
Charlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard.
Canton: Roth & Hug Co., 539 N. Market Ave.
Ralph W. Young, 139 Cleveland Ave., S. W.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 41654 Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
347 Euclid Ave.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Public Square.
Home Movies Co., 1501-7 Superior Ave.
Lyon & Healy, Inc., 1226 Huron Rd. at
Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply. 62 E. Gay St.
Don McAlister, 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams, 2028 E. Third St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: F. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngsiown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudsco St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Eugene: Carl Baker Film Shop, 698 Willa-
mette St.
Stevenson's, Inc., 764 Willamette St.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept.
Meier & Frank Co.. Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown : M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton : Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly & Green, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lancaster: Darmstaetter's, 59 N, Queen St.
Lebanon: Harpel's, 757 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores. Inc.. 1020 Chestnut
St.
Home Movie Studio, 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
MacCallum, Inc., 132 S. 15th St.
Strawbridge & Clothier. Market, Eighth &
Filbert Sts.. Dept. 201.
Tolm Wanamaker. Dept. 56.
WILLIAMS, BROWN B EARLE, INC., 918
Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co.. 126-6th St.
Joseph Home Co.. Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Root's Kamera Exchange. 312 Diamond St.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Siiamokin: Jones Hardware, Sporting Goods
Dept., T15 E. Independence St.
RHODE ISLAND
Newport: Rugen Typewriter & Kodak Shop,
295-7 Thames St.
Pawtucket: Thomas N. Simpson, Broadway and
Exchangu St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Woonsocket: Joseph Brown Co., 188 Main St.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Jackson: Southern Pictures Corp.
Knoxviule: Jim Thompson Co., The "Snap
Shop," 415 W. Church Ave.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co... 420 Union St.
TEXAS
Abilene: W. C. Crosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co.. 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Store, 113 W. Sixth St.
Chas. G. Lord Optical Co.. 704 Main.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
Lee Film Co., 716 E. Elmira St.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
Shiplers, 144 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co.. 418 E. GrECO
St.
MOVIE MAKERS
41
WASHINGTON
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
Lowman & Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. 4,
707-11 Sprague Ave.
Joyner Drug Co., Howard & Riverside Ave.
Wenatchee: Wheeler's Photo & Gift Shop, 33
N. Wenatchee Ave.
WEST VIRGINIA
Charlston : S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 427 Milwaukee
St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosii: Coe Drug Co., 128 Main St.
Waukesha: Warren S. O'Brien Commercial
Studio, 353 Broadway.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Honolulu Photo Supply Co., 1059
Fort Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escalta.
OTHER COUNTRIES
AFRICA
Cape Province
Cafe Town: Kodak (South Africa) Ltd., "Ko-
dak House, "Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa Alex, Alex y Carloe. Con-
nio, Maipu, 456.
Rosario de Santa Fe : Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Hales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Harringtons, Ltd., 386 George St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty.. Ltd.,
East St.
Toowoomba: Kodak (Aus'ralasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harringtons, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle
St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Agency, 179 Elizabeth St.
West A ustralia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
AUSTRIA
Vienna: Siegfried Wachtl. VII Neubaugasse 36.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Rundle, Ltd., 531 Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News, Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Film & Slide Co. of Canada, Ltd., 156 King
St., W.
Lockhart's Camera Exchange, 29 Richmond
St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave., at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St.,
W.
Film & Slide Co. of Can., Ltd., 104 Drum-
mond Bldg.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St.. W.
Saskatchewan
Regina: REGINA PHOTO SUPPLY, LTD.,
1924 Rose Street.
CHILE
Santiago: Casa Heffer, Calle Estado 242.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393 Nan
king Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd
CUBA
Havana: "La Bohemia" Bookstore, Neptune 2B
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam
eras, Senovazuna, S and Narodni tr. 26.
DENMARK
Copenhagen K: Kongsbak and Cohn, Nygade 2.
V: Kodak Aktieselskab, Ostergada.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Kamleh Sta.
ENGLAND
Birmingham: Kodak, Ltd., 42 Corporation St.
Blackburn : E. Gorse, 8b Accrington Rd.
Brighton: Stead & Co., Ltd., 22-23 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C. 2: Home's Camera Mart, 58 Old
Broad St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: \. O. Roth, 85 Ringstead Rd.,
Catfoid.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Westminster Photographic Exchange, Ltd., 119
Victoria St.
\V. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
Service Co., Ltd., 289 High Holborn.
W. C. 2: Sands, Hunter & Co., Ltd., 37
Bedford St., Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton. Ltd., 119 New Bond St.,
47 Berkeley St., Piccadilly.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd.. 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: Tiranty. 91 Rue Lafayette.
I: M. Assemat. 95 Rue des Petits-Champs.
XVII: LeGrimoire, 182 Blvd. Berthier.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361, W.
Foto Schaap & Co.. Spui 8.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Gronnigen: Capi, 3 Kleine Pelster,straat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Capi, Broerstraat 48.
Rotterdam: Bollemeijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz, U-4.
INDIA
Ahmebabad: R. Tolat & Co., Bawa's St. Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
M. L. Mistry & Co., 46 Church Gate St., Fort.
Calcutta: Army & Navy Coop. Soc, Ltd., 41
Chowringhee St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Fukada & Co., 2 Chome Kitakyutaro
Machi, Higashiku.
Shueisha, 25, Kitahama 4 Chome, Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini, S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd.. 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd.. 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S Nedre Slotsgate 13.
SCOTLAND
Aberdeen: James E. Henderson, Ltd., 164
Union St.
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Baliantine, 103^ St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
Paisley: J. Lizars, 27 High St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Bilbao: Ignacio Amann, agent for Bell & Howell.
Colon de Larreategui 9.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol. 4.
Avenida Conde Penalyer 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., ^5-3 High St.
SUMATRA
Medan : Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Friestrasse 74 (Sodeck).
H. Strubin & Co., Cine Service. Gerbergasse 25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall). 5 Kue de la
Confederation.
Winterthur: Alb. Hoster, Marktgasse 57.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf (Vorm, Kienast X: Co.). Bahnofstr, 61
VENEZUELA
Caracas: Edo. Vogeler & Co., Apartado 470.
Maracaibo: MacGregor & Co., Apartado Postal
No. 197.
Dealers Listea in Black Face Italics Are Advertisers In
S3 a year (Canada, $4.00,
Foreign, $3.50); 25c a copy
MOVIE MAKERS
105 West 40th Street
New York City
42
JANUARY 1932
A Russia
juard, enters
THE COMING OF AMOS
DeMille picture, featuring Rod LaRocque, Noah Beery and JettaGoudal.
n Princess is abducted by conspirators and imprisoned by the villain. She is followed by the hero who vanquishes the
5 the castle, overpowers the villain, rescues the Princess and finishes in a blaze of romantic glory. Don't miss it.
IMPORTANT ANNOUNCEMENT
Eight Grantland Rice Sportlights. Fifteen Aesop's Fables
are among the recent additions to our library
Branch Libraries and Distributors in fifty-five of the leading cities of the United States and Canada
LIBRARY MEMBERSHIP NOT REQUIRED
But recommended because of extra advantages and economies afforded
REGENT REDUCTION IN RENTAL RATES
Non-members now rent at catalog rates. Members enjoy a 10% discount
NEW ILLUSTRATED DESCRIPTIVE CATALOG
FOURTH EDITION
contains many new subjects, drops many of the older ones and reduces rentals of many
others. 400 reels at average rental of less than 90c each ! Average rental entire library
(nearly 900 reels) only $1.09 each. You can rent twenty to forty reels for the cost of
one !
ATTRACTIVE PROPOSITION
to Dealers who desire Profits from operation of their own
Film Rental Libraries. Our Experience and Resources as-
sure the Success of our Distributors. No risk. Send for
booklet How the Kodascope Library Brought Prosperity to
Our Store.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
MOVIE MAKERS
The
extra
speed
you
need
IT IS always pleasant to know that the film
in your camera has extra speed for the poorly-
lighted subject.
In fact, during the winter months, this
extra speed often decides yes or no for many
shots.
With speed a factor, Agfa Supersensitive
Pan is serving movie-camera users admirably.
mowed-
And, with this speed, it has amazing latitude
and color sensitivity that are so important to
the screen results you expect.
You will find many new opportunities for
interesting movies, both indoors and out, when
you use Agfa Supersensilive Pan — the film
that many have said means "an extra hun-
dred watts in your projector".
SUPERSENSITIVE
PANCHROMATIC
REVERSIBLE
16 mm. CINE FILM
AGFA
A N S C O
O F
BINGHAMTON,
N .
Agfa Ansco Limited, 204 King Street East, Toronto, Ontario
The same movies...
but what a different show!
Kodascope, Model K, adds brilliant beauty
to your pictures . . . makes it easier to project
them than before
A REAL SURPRISE awaits you... a
startling revelation. Here's how
you get it. Here's what you do.
Select a few of your favorite mov-
ies. Bring them to your Cine-Kodak
dealer. Let him project them for
you with Kodascope, Model K.
The same movies, but what a dif-
ferent show! Now, they sparkle
with new brilliance. You'll readily
agree that the "K" provides a
quality of projection that you'd
hardly expect to see outside a
modern theater.
A special 260-watt lamp with de-
centered filament supplies the illu-
mination necessary for maximum
brilliance. Then, too, there is a
light-trapped lamp house that's a
big help, especially for Kodacolor.
Check "K's" convenience fea-
tures, too. The alternate floor lamp
and projection lamp switch. The
motor-driven rewind that whirls
400 feet of film back on the supply
reel in less than thirty seconds. The
rewind lever which is automatically
disengaged when you start to pro-
ject the next reel. A central oiling
point that lubricates the most im-
portant bearings. Surely, no other
home movie projector at any price
can match the "K's" efficiency, con-
venience, and superlative projection
qualities.
Compare Model K with your
present projector ... at your Cine-
Kodak dealer's today.
Kodascope, Model K, complete,
$160. With carrying case,
$175. Operates on 1 00 - 1 2 5
volts, A.C. orD.C.
NEW FEATURES OF
THE "K"
1. Special 260-watt lamp and optical
system provide maximum brilliance.
2. Light-trapped lamp house reduces
stray light leaking into the room dur-
ing projection.
3. Improved cooling system incorpo-
rates new type fan.
4. Receptacle for plugging in bridge or
table lamp so that when Kodascope
lamp switch is on, the room light is off.
5. All exposed metal parts are heavily
chromium plated.
6. Controls readily accessible on panel.
7. Lens mount permits interchanging of
lenses of various focal lengths.
8. Illuminated ammeter is supplied as
standard equipment.
9. Illuminating system attached to hinged
door of lamp house for easy cleaning
and replacement.
10. Oversize bearings assure long life.
EASTMAN KODAK COMPANY
ROCHESTER, NEW YORK
}
MOVIE
Mdgazine of the Amateur Cinema League, Inc.
FEBRUARY, 1932
FEBRUARY 1932
that permits Agfa
to give such re-
markable movies
outdoors and
JCjXTRA speed is a feature of Agfa Supersensi-
tive Panchromatic Film.
It makes possible the finest outdoor movies
under all light conditions — even on dull, over-
cast days and in the subdued illumination of
woods and narrow streets. With a filter, it is
excellent for snow scenes.
The same high speed also permits remarka-
ble movies indoors by artificial light.
And, with this extra speed, there is unusu-
ally wide latitude that safeguards against un-
der-exposure and over-exposure, and beautiful
color-sensitivity that gives a truly life-like effect
to your movies.
Agfa Supersensitive Panchromatic Film
makes the kind of movies you like. If you
are not already using it, try a roll and see for
yourself.
Agfa Supersensitive Panchromatic Film is
safety film and may be used in any 16 Mm.
Cine Camera. 100-ft. roll, $7.50; 50-ft. roll,
$4.00, — including free processing and return
transportation.
SUPERSENSITIVE
PANCHROMATIC
REVERSIBLE
16 mm. CINE FILM
AGFA ANSCO OF BINGHAMTON,
Agfa Ansco Limited, 204 King Street East, Toronto, Ontario
N .
MOVIE MAKERS
47
BETWEEN STARS
THAT SHINE and
STARS that MERELY
TWINKLE
l",^Ma0f"
Perfect pictures now and twenty years
from now . . . that's the goal! Otherwise
why bother at all?
Victor 16 mm. equipments are de-
signed and constructed to assure far
finer than average results . . . clear,
sharp exposures with all the quality of
studio productions, and projection that
rivals the brilliancy and professional ex-
cellence of the finest theatrical show-
ings. Besides that, there are the many
conveniences and refinements that only
Victor provides . . . such, for instance,
as positive film protection which in-
sure that the priceless shots made today
will still be good for showing twenty
years from now.
Don't envy the chap whose movies
"shine out" from the rest — Own a
VICTOR yourself! If your dealer hasn't
a VICTOR stock, have him write.
Model 7 Projector with 300 Watt Lamp,
all accessories, and carrying case. $175
Animatophone complete with carrying
case and with 5 tube cine speaker. .$500
Manufactured by VICTOR ANIMATOCRAPH CORPORATION
Davenport, Iowa
Distributed by NATIONAL THEATRE SUPPLY COMPANY
Branches in All Principal Cities
Ask your DEALER
to Demonstrate
A VICTOR
Model 5 Camera
with VISUAL
FOCUSING
$220
48
A
400
AMPRO fo
WATT
I
r S
The Ampro Precision Projector,
Model AS with 400 watt Biplane
Filament Lamp, seal- grain black
finish, nickled Parts and standard
case, $175.00.
Model AD (illustrated) with 400
waft Biplane Filament lamp, seal-
grain bronze finish, chromium plated
■parts, automatic pilot light and de-
luxe case, $200.00.
175
OO
Now — you can enjoy 400 watt illumination
without having to pay a premium for it.
Think of it ! The new seal-grain finish AC-
DC Ampro with 400 watt Biplane Fila-
ment lamp for only $175.00, complete with
case. And mind you, the long-lived 200
watt lamp may be used in this same pro-
jector at will. No changeovers of any kind
required. Simply switch lamps. Two pro-
jectors in one!
Go to the Ampro dealer now. See the 400
watt Ampro. Experience the thrill of oper-
ating it yourself. You'll find, we think, that
it's impossible to buy more projector, re-
gardless of what you pay.
THE AMPRO CORPORATION
2839 N. Western Avenue, Chicago, 111.
545 Fifth Avenue. New York
192 Sunnyside Avenue, Toronto, Ontario
Atlas Educational Film Co.. 821 Market Street. San Francisco
The
2%»
►JJPIRID
PRECISION
PROJECTOR
©C1B 142490
m 29 1332
%
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
MOVIE MAKERS is published monthly in New York,
N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign
$3.50) ; to members of the Amateur Cinema League, Inc., $2.00 a year,
postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August
3, 1927, at the Post Office at/New York, N. Y., under the Act of
March 3, 1879. Copyright, u932, by the Amateur Cinema League,
Inc. '/Title registered at United States Patent Office. Editorial and
Publication office: 105 West 40th Street, New York, N. Y.
Telephone PEnnsylvania 6-6836. Advertising rates on application.
Forms close on 10th of preceding month.
KATHERINE L. NOONE Advertising Manager
ARTHUR L. GALE Continuity and Club Editor
RUSSELL C. HOLSLAG Technical Editor
LOUIS M. BAILEY Editorial Assistant
ALEXANDER de CANEDO Art Editor
COfltCntS VolumeVM February, 1932 Number 2
Cover design Ludwig Bemelmans
Built for service, editorial "
The compass points to travel, photographs Thurman Rotan 52
Movie ho, Mexico! Fred S. O'Hara 53
Cinemas for caravanserais Louis Miller Bailey 54
There's gold in junk Beth Brown 55
Winter sport films R. G. Peck 56
An aid to closeups Herbert C. McKay, F. R. P. S. 57
"Psyching" cine comedy Ernest W. Page 58
Simulated cinematics Leo J. Heffernan 59
The clinic Russell C. Holslag 60
Amateur clubs Arthur L. Gale 61
Educational films Louis Miller Bailey 62
Celluloid that sells Epes W . Sargent 63
News of the industry 64
When the production fails to click Paul D. Hugon 65
Featured releases for home and school .■ 71
Closeups James W. Moore 72
Free films 76
Around the world with Movie Makers 83, 84, 85
Editor
JOHN BEARDSLEE CARRIGAN
cot
50
FEBRUARY 1932
Easy as making children's cutouts
Cutting the film with the famous B & H Splicer. Note the pilot pins
that hold film in the correct position, and the simplicity of the operation.
Spreading a layer of film cement on the film, preparatory to pressing
the ends together with the clamp.
(At right) B &> H Film Cement, identified by the blue and gold label,
was especially developed for most effective splicing of safety film. Con-
tains only highest quality chemicals. Furnished in 1 ounce nontipping
bottle with combination cork and brush. One bottle is furnished with
each splicer outfit. Additional bottles, 25 cents.
(At left) The Cooke 15 mm. f/2.5 Lens in Focusing Mount — a new
Cooke lens (pictured above) which is even more useful than the Cooke
IS mm. //2.5 universal fociu lens, a most popular unit since its announce-
ment last July. The new lens, can be focused on objects as close as 8
inches. The universal focus lens is sharp at from five feet to infinity.
Both lenses, at only 25 feet, include a picture area 16'/i feel wide! These
are the only lenses of their focal length that do not interfere with the
rotation of the Filmo 70-D turret head. The focusing mount lens, $55.
The universal focus lens, $45.
and the splice as it should be...
Splicing is easy ... as easy as making children's cutouts . . .
when you use a Bell 8C Howell Diagonal Splicer.
Pilot pins hold the film in precisely the correct position for
each simple operation. Just push the blade to cut each film
end on a diagonal. Scrape off the emulsion from one film
end. Brush on a little film cement, close the pressure clamp
. . . and there you are. Actually, telling about it takes
longer and sounds more formidable than doing it.
And the splice is as it should be . . . virtually as strong and
flexible as the original film. The diagonal splice gives more
bonding area, leaves the perforations intact and uninjured
and distributes the pull of each pair of projector sprocket
teeth so that one tooth engages on one side of the splice,
its mate on the other side. No film stiffness to cause trouble
while running through the projector, no pulling apart so
that you must stop in the middle of a showing for repairs.
This diagonal splice is the basic feature of all Bell 8C Howell
16 mm. film splicing equipment, the Combination Re-
winder and Splicer and the B & H Film Editor as well as
the simple Splicer. With such fine and convenient splic-
ing equipment offered, there's no reason why anyone
should be content with poor splices in film, no reason to
show a brief 100 feet when assemblies in 400 foot reels
are so easily made. And the simple B dC H Splicer costs
only #7.50. See the nearby Filmo dealer.
B <&» H Film Editor. With the B & H
diagonal splicer on the base, this com-
plete editing outfit offers also a magni-
fying, illuminating picture-viewer and a
two-way geared rewincler. B & H Film
Editor, complete, $40. B & H Combina-
tion Rewincler and Splicer, $14. Re-
winder only, $6.
The diagonal splice made with all
B & H 16 mm. film splicers. Notice
that one perforation of the pair is on
one side of the splice while the com-
panion perforation is on the other side.
BELL & HOWELL
FILMO
Personal Movie Cameras and Projectors
Bell 8C Howell Co., 1843 Larchmont Ave., Chicago; New
York, Hollywood, London (B. & H Co., Ltd.) Est. 1907.
51
W!
rHEN, in 1926, the pioneers of the
Amateur Cinema League brought this
organization into being, they planned
for its future in a manner that predicted an associa-
tion very different to the 1926 model for bodies of
enthusiasts about a hobby. At that time, button
wearing, convention holding, convivial fraternizing,
regional gathering and emphasis on the social fea-
tures of any grouping of people were typical of the
period when everybody had plenty of money to en-
joy life and was fair game for the "organizer."
The Amateur Cinema League was designed for the "long pull" and its-
founders knew that a solid foundation was requisite, so they built accordingly.
Buttons were omitted, conventions were not considered and local "chapters"
were not made a part of League methods. It was realized that the great ma-
jority of people do not really like forced conviviality and fortuitous social com-
panionship on the basis of a common membership and that these very things,
so beloved of the professional promoter, would, in the end, peter out and
leave a League built on them in a weak position.
What our founders did insist upon was a sound value for the membership
fee. They directed that MOVIE MAKERS should adopt the aim of giving more
to its readers than it would cost them to buy it, for they knew that the League
would make its initial reputation through its magazine. They arranged for service
features to be developed as rapidly as a genuine trend could be seen as to what
services would be wanted. Most important, they insisted that the League's head-
quarters should make its relations with members specific, personal and prompt.
They placed the burden of asking for service upon members and then demanded
that those who did ask should get generous measure.
The pioneers saw far into the future but they charted the route map only
in broad outlines, content to let the years fill in the details. They felt that
all of us in amateur cinematography would come to realize that our hobby was
not only a pleasure and a recreation but that it had mysterious and alluring
perspectives of world importance and effectiveness, yet they made no effort to
limit these perspectives by a 1926 viewfinder.
The officers and directors of the Amateur Cinema League feel that they
have kept to the course set for them and many statements from League members
encourage them to believe that they are right. But what do the rest of you think?
Have you kept silence because of satisfaction or cynicism or inertia? Since the
League has no conventions, won't you write to Headquarters your individual
comments, so that we may talk them out with you in the informal and personal
way that is the League's own? If the spirit moves you, speak out!
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
Built for service
52
'nt— -n fa
If
•)
■jmmmMmqy ,
/' 1 \*
f***
>;: L:
•7
Sfli
Thurman Rotan, Courtesy New York News
The compass points to travel
M O V I
53
MAKERS
Movie ho, Mexico
FRED S. O'HARA
A winter travelers'
guide to the land
below the border
MEXICO, the marvelous! Mexico,
the magnificent! Mexico, the
land of mendicants, manana and
muchachas. At last it has been discovered
that there is a photographic paradise only
three days from your doorstep, a land of
delight to most of the five senses, a land
foreign as the Antipodes yet a friendly one.
The first consideration in planning a movie trip there, no matter to what
part of the country, should be the purchase of a woolen pullover sweater of
light weight. Though often hot by day, Mexico can grow noticeably cool once
one moves out of the direct sunlight and do not forget that, when the sun sinks,
an altitude of six or seven thousand feet is not overly warm. So, if you will take
one old campaigner's advice, you will have a chamois vest between the cold
world and yourself and still not be uncomfortable. Even a light surtout or top-
coat is often a welcome addition to the usual clothing. Tramping, whether on
hill or in dale — and there are some tall hills and deep dales down yonder — calls
for stout shoes, lace boots or puttees with woolen hose for the greatest ease in
unhampered filming. And all this and more about comfortable clothing will be
found in Terry's Guide To Mexico.
Photographic paraphernalia? Certainly a cine camera — 16mm. preferred,
as those chaps below the border do not encourage the larger ones — a complete
set of lenses up to six inch telephoto, a pocket sized still machine and a dozen
rolls of cine film. Do not stack these all in one corner of your luggage. Let
them come as happy surprises to the Mexican Customs guard; if he sees them
a few at a time, he will not be likely to speak of duty. The fact is, you will find
those customs fellows below the line more than willing to meet you half way
in any exchange of amenities.
Ten days before leaving the United States, make a complete list of every
lens and other bit of equipment, note the serial number of each roll of film,
type two or three copies and mail one to the "Customs Officer in Charge" at
the port of entry where you will return to the States. Then, in the event of a
dispute on your homecoming, produce your copy to verify the numbers of the
several articles as American made and free of duty.
Further, if you are a naturalized American, by all means take with you the
papers showing this fact. Substitutes do not function as do the actual goods.
Between Laredo and Monterey, a keen eyed Mexican immigration officer will
go over your tourist permit with the greatest care; if it does not come up to
specifications, Monterey may then and there be the end of your trip. In the
same way, on returning, you must be prepared to show Uncle Sam your vaccina-
tion mark. He's funny that way.
So, with your movie and still camera, films and the basket of lenses, you
are bowling along merrily with many a temptation to spray the scenery from
the train. Don't do it! You can get into trouble quicker and deeper by making
pictures in or near railroad property than in any other way. So right here and
now, let us memorize a few simple photographic don'ts. Don't photograph in
or around railway stations or trains. Don't photograph within public buildings
or museums. Don't photograph military organizations, barracks, forts or groups
of soldiery. And don't photograph the squalid things, poor hovels, drunken
peons, etc. How would you like a Mexican to come up here and photograph all
the squalor and filth that he could find and then take it home as representative
of the United States? Well, neither would I, so let's be decent down there just
as we would ask them to be up here. Finally, the above restrictions are not
irksome and, in event of some special interest, such as archeological specimens,
permission to photograph can be obtained on application. Better still, if you get
the "manana fever," they can always be purchased in as good a quality as you
might get yourself, or even better.
But we are still aboard the Sunshine Special and have opened our baggage
for the customs officers. An interpreter accompanies the inspectors, asks the
few necessary questions and, in a jiffy, everything is arranged and the coast is
clear. In a few hours we shall be in Mexico City.
Let us here interpolate that there are processing stations in Mexico City.
If you have your cine films processed there, you will not only know whether or
not your exposures are correct but the process station will run your films and
probably warn you if you are coming too close [Continued on page 78]
Cinemas for caravanserais
54
LOUIS MILLER BAILEY
An example of the
smart cine rooms
that have won favor
THE 16mm. motion picture having been effectively employed by so many
phases of business, it is not surprising that it has been most recently
adopted by progressive hotels because of the possibilities of valuable
service it offers in this field. Resort hotels, particularly, have realized the
service of providing a theater for the projection of films personally made by
guests. With a large proportion of travelers and vacationists carrying their
cameras with them, a projection room in the hotel greatly facilitates the enjoy-
ment of their hobby with their friends. To the hotel so equipped, no longer
need the enthusiastic movie maker carry his projector with him nor wait until
his return home to project his recently made films. Rapid developing service
makes it possible for the movie maker to have his films ready for showing
before returning home from a stay lasting as short a time as a week. Not only
does the hotel projection room serve the movie maker; it provides the ideal
means of entertaining children of guests for whom programs are arranged from
the many interesting subjects available in the rental libraries. Adults, too, find
the movie room an alluring means of entertainment after dinner where they
may view either a program of library subjects or relive with friends their
previous travels as recorded with personal cameras.
One of the most interesting of such resort theaters is that of the Greenbriar
Hotel, White Springs, West Virginia. Recognizing the ever increasing need of
such a room for the convenience of guests, the manager, L. R. Johnston, him-
self a movie maker, converted a centrally located space in the hotel into a
theater, the dimensions of which are sixteen by fifty feet, seating sixty persons.
This theater is most comfortably appointed and the projection room is
equipped with two 16mm. projectors of the latest model. Amplification is
provided for the reproduction of sound accompaniment. The theater has
proved a decided "hit" with guests and it has been prophesied that such a
theater will soon be a standard feature of all first class resort hostelries.
Additional service could be provided by such resort hotel theaters in
acquainting guests with the scenic excursions and sport facilities which are
usually among the attractions of such hostelries. Golf, swimming and other
forms of sport featured by the hotel could be taught by the "pro" in charge
of each, both by means of the special slow motion instruction films which
demonstrate the methods of well known players and by films taken of pupils
themselves. Even bridge is now taught by means of instruction films. The
hotel newsreel, compiled once a week, offers interesting possibilities in present-
ing news of tournaments and other aspects of sports at the hotel and of
presenting famous personalities who are registered. And the amateur photo-
play producing company, recruited from guests, would find the hotel theater
of greatest aid in presenting film dramas such as those made during past
summers by The Infamous Players, a group organized by the Count and
Countess Armand de Montagny at Sunset Hill House, Sugar Hill, New Hamp-
shire. "Our first production," says the Countess concerning the activities of
this group, "was far surpassed by our second, filmed the next year and shown
just before the close of the season. Five feature players and fifteen regular
extras, with mobs as needed, were recruited from among the guests at the hotel.
A cosmopolitan cast they made, hailing from Maine to Memphis, Tennessee.
This photoplay was probably not a great contribution to the art of the cinema.
It was not intended to be. It was planned to provide a film vehicle for a lot
of fun, both in its making and in its later showings. This it certainly did,
proving to all that reeling a resort is the most delightful, if the most strenuous,
of all summer sports." Indeed, so widely has movie making become a part of
vacationing that it would seem to have been inevitable that hotels should make
provision, just as have steamship lines on their regular and cruise ships, for its
practice and enjoyment by their guests.
Not only resort hotels but commercial
hotels, as well, may advantageously make
16mm. projection facilities available to
their guests. Luncheon clubs which are
hotel guests regularly often find need of
projection facilities for the showing of films.
Particularly is [Continued on page 81]
The ever widening
users of "sixteen"
now include hotels
In
is
film
which scrap
shown to be a
cine treasure trove
IT was spring outdoors, but in the dark
projection room, redolent of film ce-
ment, swear words and black cigars,
one could not sniff the weather nor tell the
time of day. I only knew that at nine on
this particular morning I had been led into
the projection room of an important film
company, left behind like a miner in the
dark and instructed to edit a hundred thousand feet of hodgepodge, junked film.
I dimmed the red light. The screen leaped into life and I immediately forgot
it was spring outdoors, that new hats had come into being and that people were
accustomed to indulge in at least a ham sandwich on rye at noon. Noon spun
out into afternoon and afternoon plunged into six o'clock. I felt as if I had been
riding a dizzy merry go round all day but had arrived nowhere.
The film had no form. It made no sense. All sorts of haphazard shots had
been patched together, some even upside down. One moment I was looking
at a factory fire raging in a city slum; the next instant, I was face to face with
the peace of Sunday down on the farm. There were baby parades and duck
hunts. There were sunsets on the sea and sunrises on the plains. There were
bathing beauty contests, vomiting volcanoes, bearded ladies, monkeys at the
zoo, champion pole sitters, fire eaters, new born babies, old army veterans,
oyster beds in Baltimore and that old familiar standby — the New York sky line
taken from fifty seven angles. A ten cent store with its conglomeration of every-
thing from pins to toy pianos was far more orderly than this and I had been
instructed to make of it a series of pictures good enough to play the theaters
of the land.
I emerged pale and dizzy and swayed toward the producer's office, prepared
to speak my mind quite plainly. But the producer was a very clever man. Leaving
me a signed contract and a fat check, he had escaped to Hollywood. I staggered
back to the cutting room. The silver cans of film rose in a forest on all sides.
There was nothing left for me to do but to sharpen my axe and fall to the cutting.
The mass of film was meaningless. Some of it was badly scratched or marred.
Some of it was dull and uninteresting. But here and there was a magnificent
scenic shot or a human interest sequence. We ran the reels on rewinds and
patched together the usable material, discarding the rest. But, even then, to
edit and title sequences without any relationship to each other would smack
too much of a newsreel, so that plan was discarded.
The disorder, more than anything else, subconsciously plagued my house-
wifely mind. So I set to spring cleaning. I classified all of the material, patching
the water scenes together, separating the animal pictures and splicing them
together — setting aside the human interest sequences and putting them
together, collecting a thousand feet to a reel, winding them upon a spool and
giving the thousand feet a home in a can, labeling the can with a court plaster
tag. I even made out a continuity sheet, listed all the shots contained in each
reel and placed it snugly within the can where it remained until I was ready
to work on that reel.
Then I set about to "make" my first picture. I began with the can which
contained all the water sequences and gave my picture the main title of Have
A Drink. There was very little story. The reel opened with a question that was
simple and to the point, Ever take a drink? Ever wonder where it comes from?
Here I inserted a shot of a picturesque brook. The next title read, Maybe from
this brook a hundred miles away. The brook dissolved into a lake and I said,
Maybe from this lake, lying in the cool green hills. The lake dissolved into a
waterfall and the waterfall into a river, flowing toward larger and larger
bodies of water until the great open sea was reached. The last title explained
that, of course, one couldn't drink of the salty sea but // you're thirsty for
beauty — have a drink, thus tying up the subtitle with the main title and drawing
a circle to its conclusion.
Have A Drink, a most unpretentious little one reel picture, played a nineteen
week run at one theater on Broadway, a return engagement at a second one
and, from there, trickled its way around the world. There was nothing to recom-
mend it but its extreme simplicity and the fact that it was spun around one
central idea. Striking upon a central idea and clinging tenaciously through to
its finish is the secret for successful short subjects, professional or amateur.
In this mass of hopeless material, there were [Continued on page 69]
Nyholm & Lincc
One city film made
with scraps used a
sight seeing theme
BETH BROWN
55
There's gold in junk
56
Ewing Galloway
R. G. PECK
Winter sport films
If winter comes.
can
wise cine fans
far behind?
The skimming grace
of an ice boat is
ideal for cine shots
WINTER sports, depending for
their interest primarily on speed
and graceful motion, are, per-
haps more than any other sporting activi-
ties, particularly within the field of cinema-
tography. The approaching opening of the
Olympic Winter Sports competition at
Lake Placid, February 4th to 13th, will pro-
vide a unique opportunity which many photographers have been anticipating
for filming the activities of the snow and ice fans under the most favorable
conditions. If, as is perhaps the case, many readers are unable to attend the
Olympic competition, they will find nearby ponds and sled runs offering
interesting winter sport scenes. If the family skaters and sledders are not as
proficient as the champions, they have the attraction of intimacy and that factor
alone may serve to give real interest.
The major winter sport is skating — speed skating, figure skating and ice
hockey. The first named is probably the least interesting of the three from the
standpoint of the cinematographer because of the lack of variety it offers; yet
a few well made and carefully selected shots of a good race can add a thrill
to any reel devoted to winter activities. For the most effective shots of the
speedsters, a position at a curve inside the turn, if possible, should be selected.
An attempt at filming the entire race will result in a remarkably uninteresting
film, unless the audience is especially interested in the individual racers. Film-
ing the skaters as they dash round the corners — perhaps in slow motion — will
show them taking their most graceful strides and will occasionally catch a spill.
It would be wise to attempt the slow motion shots only on sunny days.
Fancy skating, particularly when performed by professionals, offers a wide
variety of exceedingly interesting shots, as the intricate evolutions of the per-
formers, occupied only with grace of movement, possess much inherent pic-
torial quality. Slow motion is seldom of much advantage in filming figure skat-
ing as the skaters rarely move at any unusual rate of speed. The best camera
viewpoint for figure skating is an elevated one; this should be sought if possible.
Ice hockey is the speed king of sports and as such is worthy of the best
efforts of the camera fan. Too many photographers make the mistake of getting
almost on top of the players and then endeavoring to follow the movements of
the puck in a series of rapid and jerky panoramas. The result is invariably a
complete loss of coherence in the reel and a sacrifice of pictorial effectiveness.
To follow the trend of the game in the best way, try to obtain a relatively high
position at a short distance from the rink. Better perspective and less jerkiness
will result. If pictures must be made close to the rink, the shorter focal length
lenses should be used. A slight slowing down of the motion (perhaps using the
twenty four or thirty two speed) will make a more presentable picture on
account of the rapidity of the movements of the skaters. Slow motion can be
introduced to great advantage in making hockey pictures; watch the game a
little, forget about the camera for a few minutes and try to pick out the most
skillful of the players. If you can decide upon which of the skaters is most
likely to break loose for a long dash, be ready to catch him at the start of such a
rush and follow him through in slow motion to the end of the play.
On the toboggan and bob sled runs, the most novel and interesting point
for filming is on the sled itself. The photographer had best find some manner
of firmly fastening the camera to the front of the sled with a pocket tripod and
some clamps or, as an alternative, should fasten it to himself, perhaps with the
hand tripod and wrist strap. Handling the camera under these conditions is a
ticklish proposition, attended with inconvenience and a certain amount of
danger, but, if one is willing to put up with the circumstances, some splendid
and thrilling records should result. On a good slide with well banked curves,
the picture will pack in more chills and thrills than the famous Runaway Train.
If the film is shot from the sled, try running the camera at half speed. If
you must shoot from the ground, take a stand at a well banked curve where
you will be able to catch the sled as it roars into the turn, snow flying as it
straightens out after the bank.
As to the equipment needed in filming winter sports, the first item on the
list of suggestions is to use a tripod. This cannot be emphasized too strongly;
the cold and biting wind will cause many an involuntary shiver, which will
make itself felt in the picture if the camera is [Continued on page 68]
An aid to closeups
HERBERT C. M c KAY, F. R. P. S.
Use of a soft focus
lens adds new charm
to the cine portrait
IT IS not impossible for the amateur to
secure results which, in a measure, com-
pare with best professional efforts but
to do so necessitates use of a moderate
amount of modern equipment and a decided
amount of common sense. It would be use-
less in this brief space to enumerate all the
possibilities open to the amateur nor, in-
deed, would this be wise, for, when summed up, the total possibilities assume
staggering proportions. There are, however, some professional procedures
which may be adapted to a wide variety of films and which add decidedly to any
amateur production, whether of dramatic or purely record nature. Of such
effects, probably none is more useful nor more attractive than soft focus.
The closeup is one of the most widely used film effects and justly so, for
nothing gives evidence of definite purpose, adds more to its individuality and
identity, than the closeup, but it is also true that many closeups prove disap-
pointing in that they are often dreadfully revealing. It is usually forgotten that,
in most amateur films, the subjects have been denied the concealing virtues of
makeup. Not only may every tiny fault be brought out clearly but many faults
which are not apparent in actual life often are magnified upon the screen. This
fact alone discourages many amateurs after first attempts at making closeups. To
offset this, the use of the soft focus effect is suggested. Of course, like all good
things, it is very easily overworked but there is no gainsaying the fact that soft
focus is of greatest value in closeup work. This fact is recognized by all ama-
teurs who have given any serious thought to their hobby.
Sometimes the statement is made that entirely satisfactory soft focus effects
may be obtained by throwing the lens slightly out of focus. Such statements
are indeed unfortunate, for nothing could be farther from the truth. The great
attraction of the soft focus is its very soft, almost unreal appearance, for, while
there is no hard, wiry definition, neither is there any unrecognizable fuzziness.
The good soft focus picture appears to be perfectly distinct and yet to be dif-
fused. The only way this true soft focus effect may be obtained is by use of a
lens made for the purpose. This lens is sometimes spoken of as being uncor-
rected and, in a sense, this is true but the error, if such, is deliberate and as
carefully calculated as the correction of the ordinary lens. The result is a lens
which forms a sharp image, with a secondary image which is unsharp, superim-
posed upon this sharp image. In this way, the characteristic soft focus effect,
that of a clearly distinguishable image appearing as though through a veil, is
secured. This fact will serve to explain why the soft focus image obtained by
covering the lens with gauze or by throwing the lens slightly out of focus is
sometimes disappointing, for such pictures fail to secure the vital part of the
soft focus picture — the sharp image which underlies the soft one.
Soft focus is not difficult to deal with properly. The lenses made for this
work are not expensive and, certainly, there is no special lens which will return
greater dividends in satisfaction. There are several points to be observed, how-
ever, if success is to be expected in soft focus photography. Soft focus pictures
owe a great deal of their beauty to the luminous effect by which they are char-
acterized. This effect can only be secured, of course, when the subject is bril-
liantly lighted. Nothing will ruin a soft focus picture more quickly than a flat
lighting. A subdued lighting may be used, provided it is accented by a strong
light from one direction. There is no lighting more eminently suited to soft
focus work than the old standard, broad lighting of portraiture. In this type
of lighting, a single light falls upon the object from an average angle of forty
five degrees, that is, the light is situated so that it falls upon the subject from
above, from slightly in front and from one side. Emphatic contrast can be se-
cured with this type of lighting without producing an effect of undue harshness.
Another point to be watched is the detail of the subject. It should be quite
obvious that the beauty of the soft focus effect is largely due to the elimination
of minute detail. Therefore, the use of soft focus for the purpose of delineating
such detail is absurd. This would seem to eliminate the soft focus lens for
outdoor or landscape work of any description but this assumption is not justified.
It is quite true that the soft focus lens should not be used for photographing a
scene in which it is wished to preserve the detail for purposes of record. How-
ever, for the photography of landscapes and even of scenes in the city, in which it
is wished to portray the spirit of the scene [Continued on page 70]
Artistic lighting
and soft focus lens
were here combined
57
58
"Psyching" cine comedy
ERNEST W. PACE
Rules for provoking
laughter applied to
amateur newsreels
PERHAPS the most delightful sound
accompaniment to a program of
amateur motion pictures is a series
of laughs from the audience. To produce
these laughs is a difficult art in itself. One
of the amateur's surest methods of creating
the comic is by means of the comedy news-
reel. The amateur, working with silent
films, must content himself with pantomime and here we find that the chief
element of humor is incongruity combined with surprise. It is funny, for ex-
ample (although this is a so called lower type of humor), to see a distinguished
gentleman in a full dress suit suddenly step on a skate and sit abruptly in a
mud puddle. It is funny because of the incongruity of the situation.
Another example of the incongruous which might easily be worked into an
amateur comic newsreel would be to have an introductory title read, New York,
March 10th. A block off the old chip. The scene is laid in the family dining
room and baby is sitting at the head of the table carving a roast while Father
is perched on the high chair, a bib around his neck, and banging a large spoon.
This situation is properly called an "inversion" but is merely a special case
of the incongruous. If a window were suddenly to be opened and a cow wearing
a derby hat were to poke her head out and look down the street, it would be
funny for the same reason.
Remember the basic fact, often overlooked, that no humor exists outside of
that which is strictly human. An animal is only funny when it reminds one of
some foible of mankind. There can be nothing humorous in an inanimate article
unless it conjures up a visual picture of something human. A hat is only funny
when one pictures how it would appear on some person.
We have discussed incongruity and surprise and now we come to a second
type of humor that explains why one person's face or general build may be
more ludicrous than another's. It is the humor of exaggeration, the humor that
forms the foundation of the cartoon. Here is where many an amateur goes
astray, for a disregard of certain simple rules may change the ludicrous to the
ridiculous. The simple rules are, first, that the exaggeration must merely
enlarge along natural lines; second, that these lines should continue only to the
optimum point for humor and not beyond.
Let us apply these rules to our newsreel. We insert the title, Travel is broad-
ening. Witness the Bunker family returning from Europe. Using a lens
modifier, we photograph the Bunkers as they arrive on the station platform.
The modifier makes them appear short and plump and, whether the audience
knows the family or not, it will be amused. The illustration obeys our first
rule since it exaggerates the person in the same way that Nature herself exag-
gerates people. It is obvious that the Bunkers would not appear funny if by
some method their right arms were increased in length and their left legs twisted
out of shape.
We come now to a third and more difficult type of humor, that of repetition,
and we will illustrate this before explaining it. A title may read, March 12th.
Queen of the May selected at Pottsville, 111. This is followed by a closeup
of some person well known to the audience. We will say that we then use part
of the fifteen feet of Aunt Sophie which we filmed when she was grinning from
ear to ear. Next comes the title, Students choose prettiest coed at Trenchmouth
College. Again, the same closeup of Aunt Sophie and the mere repetition,
coming as it does without warning, should prove amusing. The smarter mem-
bers of the audience will have suspected by this time that the next scene will
be the same thing so, instead of using Aunt Sophie again, we insert a regular
news item of another nature. The next title reads, New Jersey hen awarded
blue ribbon at local fair, and this is followed by the same closeup of Aunt
Sophie. With this, it would be well to stop, for an overdoing of repetition is
as bad as an abuse of exaggeration and then there are some individuals to whom
the humor of repetition does not appeal.
In another type of humor, it is the rapid fire, the overwhelming number of
jokes and antics per minute that makes one laugh and we call this the "machine
gun" or "fusillade" type of humor. It is not a distinct class in itself but is a
summation effect, each response of the audience being added to the previous
one before the latter has subsided. Let us apply this also to our newsreel.
If the laughs from each news item could be [Continued on page 70]
Animals are funny
only when taking
off human beings
59
Circling lights and
camera gave life
to these figurines
ANEW form of camera and lighting treatment gain-
ing many followers among amateur cinematog-
raphers and which offers all of the fascination of so
called table top photography adapted to the requirements
of the cinema is termed simulated cinematics. A glance
through a magazine devoted to still photography shows that
twenty percent of the pictures therein are of still life subjects,
ranging from shapely phials to battered rain barrels. Each
picture has some pleasing or otherwise striking quality and
there is never any doubt as to why the photograph was made.
Until simulated cinematics were introduced, such still life
subjects were lost to the cinematographer. While he could
reproduce such subjects on the screen in all the wealth of
detail and lighting seen in the still photographs, the audi-
ence, before ten of the scenes were projected, would be
stifling yawns. Regardless of how well it is photographed,
a movie lacking that peculiar something called "cinematics"
never seems to click.
A movie can be said to have cinematic qualities if it makes
a person feel he is being carried along and is a part of the
story. It was thought impossible to make an audience feel
that it was being carried along with the stationary objects
used in still life photography until it was discovered that
simulated motion could be given them by means of the mov-
ing camera or a moving source of light.
Obviously, all movement must be perfectly smooth and
steady, for a jumpy motion would destroy the illusion. While
the camera should move very slowly so as to stop action
sufficiently in the individual frames, the source of light can
be moved with almost any degree of rapidity. The maximum
rate of speed in each case depends on the nearness of the
camera, as movement in scenes being shot at close range
must be slowed down accordingly. Many interesting effects
can be obtained by simply increasing or decreasing the speed
of the camera or lights but, to keep up the pretense of con-
tinuity, there should be
a similarity in speed and
direction at the point
where two scenes are
joined together. When a
new scene flashes on the
screen, any marked ac-
celeration, deceleration
Putting action into
the inanimate with
moving apparatus
or change of direction will have its effect on the audience
and, if the error is repeatedly noticed, the movie will become
monotonous. It must be remembered that this simulated
action is introduced to carry the audience along with the
picture — and a jolting ride is never a pleasure.
The mechanical arrangements necessary in making such
a film will be greatly simplified if the work is confined to a
small area such as a table top. Too, the subject selected
should be as small as possible so the camera and the lights
may be kept within reach at all times. It is best to attempt
only a rotating movement of the camera and lights as this
can be arranged very easily by mounting them on individual
revolving arms. In this way, the course will be predeter-
mined and it will be easy to avoid wrong focus or variation
in light strength. In scenes where the lights or camera
travel completely around the subject, the lens diaphragm
must be gradually opened or closed to compensate for the
reduced light at certain points. To guard against lens flare,
light shields should be improvised where necessary.
The light should be suspended about two feet above the
table by means of a rigid bar fastened securely to the re-
volving arm. So as to blend in with the background, which
should be dark and be imperceptible when within range of
the lens, this bar should be given a coat of flat black paint.
If two lights are used, each should be mounted to work in-
dependently, as this will add to the number of effects which
can be obtained. (See diagram on page 74.)
Of course, the table must be specially constructed but, if
the cine amateur happens to be an amateur carpenter as
well, he should have no trouble in making it. Otherwise, a
carpenter or cabinet maker must be called in to do the job.
It should have a circular top about three feet in diameter
mounted on a single three inch neck in the center. The re-
volving arms should be made from five inch stock to be wide
enough to permit of a hole in one end through which the
table neck is inserted before the top is mounted. The other
ends of the arms may be tapered to reduce weight and, of
course, the camera arm should be placed on top and have
an arrangement for mounting the camera or a tilting top.
Below the arms will come the legs which may be of the
jutting out type in order to give a more substantial support.
By this time, the reader will be of the opinion that enter-
ing the table top field requires [Continued on page 74]
LEO J. HEFFERNAN
Simulated cinematics
60
H. Armstrong BobertJ
RUSSELL C. HOLSLAC
The clinic
Picture the sparkle
of an icy waterfall
on a silver screen
Glitter ■ The season of ice and snow, while it may have some unpleasant
aspects, offers real possibilities for the movie camera. In its
essentials, a glittering surface of ice or snow is composed of myriads of tiny
reflectors which return the bright glare of sun and sky to the eye of the be-
holder. The first consideration in filming this is not to make use of a stop
that is too large. The surface sheen of ice, for instance, offers much the same
effect to the lens as does a body of water on which the sun sparkles in the
summertime. So, for recording such scenes, use stops in the order of //8, //ll
or //16, depending on the time of day. Very often, when the sun is low, in-
teresting reflections across a surface of ice can be secured and, with a few
skaters or other dark, moving figures to give animation, some very interesting
silhouette shots can be obtained. Be careful to prevent direct rays of the sun
from shining on the lens. Sometimes it may be necessary even to shield it
with a hat, a piece of cardboard or other opaque object. When the sun is not
shining, the sparkle and glitter of ice is entirely absent photographically, so
pick a fairly bright day for this kind of cinematic recording.
Stunt of the month ■ Winter scenes which are appropriately titled
with snow and ice lettering are going to look
particularly inviting around July or August. Very elaborate effects may be
sought but there are one or two simple ones which are quite as striking. A
single suggestion is here offered for development. An expanse of clear snow is
shown for a second or two, then letters spring up out of the snow, as if by
magic, to spell Winter Snow, or whatever short wording is desired. The word
is made up letters cut from heavy pasteboard, compoboard or whatever stiff
material may be handy. These letters, which should be about a foot high, are
simply tacked to a slat by their lower edges. The slat should be long enough
to extend out of the picture range at one side and this end should be pro-
vided with an L shaped piece for turning. After the letters are affixed, the rod
is arranged so that they lie flat on the snow and the camera is focused on it.
Light snow is sprinkled over the letters and the surface smoothed. The camera
starts, an assistant raises the letters by twisting the bar and the effect is
achieved. — Epes W. Sargent.
Random shots I "Trucking" shots of a sort can quite easily be made
in the winter where the snow is closely packed and
the ice is smooth. The kind of shots referred to are those in which the camera
moves along a prearranged path, following some slowly moving objects. The
effect is always an interesting one and is used by professionals very often.
An ordinary sled may be arranged to travel over a smooth surface, bearing
tripod and camera. Even a smooth, flat board will serve the purpose if drawn
along an icy surface by means of a rope. One A. C. L. member, who is a
surefooted skater, even held the camera in his hands and had himself pushed
along to secure this effect. ■ Don't carry the camera suddenly from a warm
house into the cold outdoors. Moisture may condense on the lens, which should
be examined carefully to guard against this condition. ■ When the shoot-
ing plan calls for an actor to enter a dark room and switch on the lights,
illuminate the scene with one 100 watt lamp until the actor goes through the
appropriate motion of pressing the light switch. When using supersensitive
film in the camera, this will give the effect of a dark room in which objects
are faintly visible before the light is turned on. ■When using yellow or
amber filters with supersensitive film, one must be careful to use the proper,
revised factors. For a quick approximation, subtract the constant "2^2" from
the factor of the filter as used with ordinary panchromatic. Thus, a 2%X
filter would call for no correction with superspeed; a 3V2X would need a very
slight increase while with a 4%X filter the factor would be 2X, and so on.
Near fades ■ An approach toward a
fadeout may be accom-
plished by opening the diaphragm as far
as possible and shooting three or four
frames at the end of the scene with the
camera pointing directly at the sun. The
automatic processing machines tend to cor-
rect for over [Continued on page 75]
Technical reviews
for the amateur
cinematographer
Amateur clubs
ARTHUR L. GALE
61
Hartford City film ■ C*ne hundred foot reels of Hart-
ford, filmed by Hiram Percy
Maxim, President of the Amateur Cinema League, W. C.
Goeben, A.C.L., and Howard Penrose, A.C.L., were projected
at a recent meeting of the Amateur Movie Club of Hartford,
Conn. These three reels are a part of the Hartford Club's
new plan of gathering material for a city film study. Each
member is invited to make a one hundred foot reel of the city,
the films to be screened at meetings during the club season.
At the end of the season, the club will review all films that
have been presented and will select the best, which will be
edited and titled to present a complete picture of Hartford.
This will be turned over to the Historical Society for safe
keeping. The Hartford Club expects that the monthly screen-
ing of the hundred foot reels to be submitted for the city film
will maintain interest of club members throughout the season.
Other films screened at the latest meeting are Brooks by Wal-
ter C. Eitel, A.C.L., Jaspar Park by Maynard Hazen, a Mo-
rocco travel film by E. F. Harrington, A.C.L., and a reel of a
Western rodeo by Clement Scott, A.C.L.
Bridgeport ■ The recently organized Amateur Cinema
Club in Bridgeport, Conn., will hold monthly
meetings with programs of interest to amateur movie makers
and will undertake the production of short photoplays. Ken-
neth Goodsell is president and Allan M. Foot, A.C.L., is
secretary treasurer. At the first meeting, What A Night from
the League Club Library was screened.
Los Angeles
The December meeting of the Amateur
Cine Club of Los Angeles was held in col-
laboration with the Cinema Institute of the University of
Southern California. The program featured a discussion of
lenses and light by George Rhode and the projection of The
Eyes Of Science, the extraordinary optical film made by Dr.
J. S. Watson, Jr., A.C.L., and Melville Webber. Dues of the
Los Angeles Club are six dollars a year and the membership
of all Los Angeles amateurs is invited.
Long Beach ■ The city film contest held by the Sunset
Movie Club of Long Beach, Calif., has
been brought to a close and the results will be announced in
a later issue of Movie Makers. A map of Long Beach was
Latest news of
group activities
and photoplays
cut into sections and
each member was as-
signed a section by lot.
A prize was offered to
the maker of the best
twenty five feet of film of
his section of the city. A
committee of two will
edit and title the sequences submitted in the contest to form a
complete city film. The Long Beach Chamber of Commerce
will give a print of the film to the League Club Library.
New York elects ■ A talk hy Carl Louis Gregory on
lenses and light and the projection
of The Eyes Of Science were the features of the December
meeting of the Metropolitan Motion Picture Club in New
York City. The program was closed with an informal contest
in which Norman D. Taylor, A.C.L., won the prize of one roll
of film with his beautiful film study entitled, Around New
York. Second and third places were given Cine Coles News
by Robert Coles, A.C.L., and Goofus News by Frank J. Boy-
Ian, A.C.L. A large number of guests and prospective club
members attended the meeting. At the club's recent election
of officers by the directorate, Dr. George L. Rohdenburg,
A.C.L., was chosen president, Miss Annette C. Decker, A.C.L.,
first vice president; George A. Ward, A.C.L., second vice
president; James W. Moore, secretary treasurer. Mr. Ward
will head the program committee for this year. Excellent
publicity notices in metropolitan journals have been obtained.
S. F. technical reports
A demonstration of the use of
sixty four volt lamps in inte-
rior filming was given at a recent meeting of the Cinema Club
of San Francisco, Calif. Various types of lighting arrange-
ments were set up and films were exposed which will be
screened at a later meeting. In the meantime, the club has
issued a special bulletin to members on the results of the tests,
including general instructions on the use of the sixty four volt
lamp in movie making. Although many clubs have conducted
demonstrations and experiments, this is the first reported
instance of a well prepared report having been released. The
club is also planning special facilities for members using
35 and 9.5mm. film widths. [Continued on page 76]
Count Andrew Csaky
Striking scene from
"Poachers," amateur
Hungarian photoplay
Educational films
LOUIS MILLER BAILEY
Many great companies
have found "sixteen"
their priceless ally
The Lincoln Electric Company
Business ■ Rose Growing, 400 ft., 16mm., a well planned film on winter
greenhouse operation, recently produced by Aubrey B. Butler,
A. C. L., Northampton, Mass., shows planting, grafting and general care of
fine roses and is titled to interest layman as well as horticulturist. It will be
screened for the florist's short course at Cornell University. ■ Advertising
automobile service, Progress, now being made by E. C. Bates, A. C. L., zone
parts and service manager, Oakland Motor Car Company, Dallas, Texas, empha-
sizes the value of modern methods in service station management and will be
used by the company to further the sale of tools and equipment. ■ Commercial
uses of sand and gravel are shown in a picture filmed and now being edited
by Henry F. Marsh, A. C. L., Rochester, N. Y. Including prospecting for de-
posits, installation of plants for handling the product, laboratory analyses of
aggregates, shipping and use of the material in building and road work, the
film will present a complete survey of the industry. ■ Bristol, The Birthplace Of
America, two reels, 16mm., produced by G. Warne for the Development Board of
Bristol, England, presents that city for the interest of American tourists and
will be made available in the U. S. and Canada as well as shown regularly on
Cunard and other Transatlantic liners. ■ Supporting its belief with a convinc-
ing array of actual users of 16mm. equipment, the Victor Directory Of Film
Sources, under the heading, The Business Builder — Business Movies, says,
"Leaders in virtually every field are trusting the solution of their major manu-
facturing, selling and advertising problems to the sound or silent motion pic-
ture. Ford, Coca Cola, Chrysler, Elgin, International Harvester, Corporate
Trust Shares, Studebaker, Standard Oil and Standard Brands, Inc., among
others, have given the endorsement of actual use." The directory reports there
are cases where the use of 16mm. talkies has made it possible to increase sales
seventy five percent. ■ To show the British staff of 0. Dell'Amico & Company
how the company's marble quarries and studios in Italy operate, E. Lombardi,
A. C. L., Manchester, England, during a trip to Italy, is making a 1,600 ft.,
16mm., film. Cutting and carving of the marble blocks and other steps in the
making of monuments in the company's studios where 250 artisans are em-
ployed are being covered in detail and something of the daily lives of the work-
men and of the background of the company's operations will be presented.
Medical ■ For tne production of clinical films on cancer in all its forms,
Dr. J. M. Martin, Dallas, Texas, reports the acquisition of 16mm.
filming equipment after having used 35mm. in his work for the past ten
years. His films, he reports, have been shown throughout the country. ■ A
surgical film, first on record to combine color and sound, was recently pro-
duced by H. L. Updegraff, M.D., Hollywood, and shown with distinct success
before state and county medical societies, it is reported. ■ Use of 16mm. as
an aid to the psychiatrist in the study of personality disorders was demonstrated
in a recent screening before the American Association for the Study of the
Feeble Minded in New York where Dr. L. P. Clark showed a personally pro-
duced film concerning two of his patients, he reports. ■ The best camera posi-
tion for photographing surgical operations, according to Dr. R. B. Stout, Jackson
Clinic, Madison, Wisconsin, is directly above the operating table. A solenoid
is used to start the 16mm. camera and ordinary operating light is sufficient
for black and white photography. Kodacolor requires extra light, he reports.
School ■ F°r instruction of normal school boy students, a 400 ft., 16mm.
film on steps in making machine parts is being produced by
Spencer E. Eaton, A. C. L., vocational education instructor, Normal School,
Keene, N. H. The film concerns the teacher and operator of the engine lathe,
reamer, drill press, shaper and universal milling machine, and is to be used
in classroom demonstrations. Mr. Eaton reports that, since the opening of
school this fall, the classroom projector has shown more than 160 reels of film.
■ Four departments of Grinnell (Iowa)
College use 16mm. silent films and Dean J.
S. Nollen says talkies will soon be em-
ployed in foreign language instruction.
Prof. L. P. Sherman, chemistry depart-
ment, has long screened educational indus-
trials on chemical products; H. W. Mack-
land, alumni [Continued on page 75]
Business, medical,
school, civic, legal,
church & other uses
62
63
Celluloid that sell:
EPES W. SARGENT
TEN and even fifteen years ago, commercial and industrial films were recog-
nized, the first general use, so far as the records show, being by the McCor-
mick company which employed films to demonstrate harvesters and reapers.
It used the old portable projectors, which were somewhat larger than a suitcase,
and full sized reels. Today the salesman or demonstrator carries a 16mm. pro-
jector occupying scarcely more space than a couple of 35mm. reels and his
appearance in the office no longer suggests that he has come to spend the week-
end.
All commercial films should be made in collaboration with the sales man-
ager. Find out precisely what he desires his sales message to be and put it over.
But dramatize it. Do not be content to be accurate but dry; be interesting and
pictorial. Suppose, for example, that the sales manager of a small town auto-
mobile agency is after rural business. He seeks to get his prospects interested
in a line of cars but he cannot very well parade them all before a farmer living
twenty miles away. He has to sell the farmer into coming into town and picking
out a car. All of these factors will condition the treatment of the picture.
Do not start off with Model J, price $1,583 f. o. b. Detroit. Instead, show a
horse drawn wagon coming down a pretty country road. It is a pretty poor
specimen of a horse and the wagon has seen better — much better — 'days. The
farmer is surprised, for he is all set to look at automobiles and he is shown a
horse. In ten seconds, the horse has advanced twenty or thirty feet. Now a high
powered car comes whizzing down the road and shoots past the wagon like a
flash. Follow the car down the road and turn back for a closer view of the
wagon. The driver clearly shows his desire for a car as he looks with contempt
at his spavined nag. This psychological approach is more than half the battle.
Sales resistance is conquered by not trying to make a sale — yet. Then comes a
title, You cannot teach a horse to saw wood, but . The farmer thinks this is
a crazy sort of picture but he will be interested. Now comes a picture of one of
the cars hooked up to a portable sawmill. It opens with a medium shot and then
comes a closer view, showing the simple hookup. Then flash to a scene of a horse
looking over a fence and shaking his head, presumably at the sawyer. Too
difficult? Not a bit! Along the fence there is a dense shrub and behind that
crouches an assistant. With a long, fine wire he tickles the horse on the neck
and the horse shakes off the supposed fly. Any salesman knows the value of a
laugh as a sales clincher. Why else did the old fashioned drummers stock up
with new jokes before the radio put them off their feet? Show another shot of
the operation and then come to a closeup of the farmer sitting at the steering
wheel to act as engineer.
Show other uses in a similarly entertaining fashion and then, but not until
then, show the various models, front, sides and rear view, in town and country,
with and without passengers and wind up with something like, A stretch of Mili-
tary Park. Note that, of the twenty three cars parked here, seventeen are Blanks.
Another industrial was designed to sell moulds for making concrete blocks.
It opened with a ten foot shot on the making of adobe bricks. The movie maker
secured this by writing to one of the officials of a western railroad and asking
him to get someone to make the shot, promising screen credit. It was worth
the effort and cost purely for its attention value and there was certain moral
value in the credit line, Film through the courtesy of the Blank, Dash and
Hyphen R. R. Along similar lines, a picture of a house water supply system
started with a sequence of Niagara Falls and a film of a sausage machine began
with a litter of pigs dissolving into links of sausage.
But that is only the introduction and, once past it, the film should get down to
business. If the subject is an engine, show it at rest and in motion. Perhaps
successive shots showing how the machine is built would be useful although there
is the danger of emphasizing factory detail to the boredom of the prospect. Make
closeups of the selling points and show the features they represent in actual
operation. Be sparing of title wordings but use enough words to get over ideas
and arguments fully. Spend weeks, if need
be, getting the title copy to a minimum
of words and a maximum of argument.
Make the film so fully informative and so
fully convincing that a deaf and dumb
salesman could
pencil stub and
When you
Secrets of success
in making films that
ring cash
Photographic beauty
is a point that wins
in many industrials
registers
close the deal with a
a single sheet of paper.
[Continued on page 68]
64
More light results
from new condenser
system of Victor 7
FilmO |L ■ The constantly increasing tendency to make
use of lamps of higher wattage for auditorium
projection of 16mm. has found new expression in the devel-
opment of the 400 watt biplane filament lamp which operates
at 100 volts. The lamp is designed specifically for use with
the superior ventilation facilities provided by the lamphouse
of the new J type Filmo projectors and the Bell & Howell
projector of this type made particularly for this lamp is
known as the Model JL. The construction of the biplane
filament lamp is such that an unbroken light source area
forms the basis of the projector's illuminating system. This
lamp has eight filaments set in two staggered rows so that
intervals which formerly were filled in by reflected light are
now filled in with direct light. This tends to eliminate
shadows and dark spots which might be caused by improper
reflector adjustment. The function of the reflector with the
new lamp is to fill any minute spaces and to strengthen the
overall illumination. The increased power rating of the lamp
is made possible by the exceptional cooling and ventilating
facilities of the Filmo Model J lamphouse, it is said. Those
owning the Model J projector will find it possible to use the
new lamp with the existing voltmeter but it will not be en-
tirely satisfactory for the reason that low current line con-
ditions might not permit of sufficient travel of the rheostat
lever, it is claimed. However, the 375 watt lamp may be
effectively used in the Model JL or in previous models which
have been adjusted for the new lamp, as there will be a
marking for this lamp on the new voltmeter. The use of the
250 watt lamp will be eliminated as the resistance will not
take care of lamps of a wattage less than 375. Owners of the
Model J may have an adaptation made at small cost.
New Victor ■ A definite and notable increase in screen
illumination together with complete flexi-
bility in lamp interchangeability, as well as many other im-
provements, are said to
be embodied in the new,
complete series of Victor
projectors, products of
the Victor Animato-
graph Corporation of
Davenport, Iowa. The
new series is to be
Answers the query,
"What's new?" for
amateur and dealer
known as the Model 7 group and comprises three main varia-
tions, the Model 7 Regular, equipped with the 300 watt, "no
resistance" lamp already featured in these columns; the
Model 7G with transformer, which may be used with no re-
sistance lamps or with 250 watt, 20 volt lamps; the Model
7R, with the special No. 11 variable resistance mounted on a
swivel post at the projector base. The latter outfit is truly
an all purpose arrangement, inasmuch as it admits, in the one
projector, the use of such lamps as the 250 watt, 50 volt;
375 watt, 75 volt; 165 watt, 30 volt; the 110-120 volt 200 watt
and 300 watt lamps. But the increased illumination feature
offered in the new Model 7 series is not primarily due to the
lamps alone. A new optical system has been developed which
permits the use of condensers of a diameter much larger than
usual. This addition to the light collecting surface results
in an increase of light at the aperture of over 100 percent
with any illumination source, it is said. This means that
a standard lamp such as the 110 volt, 300 watt can produce a
brilliantly illuminated screen image of large dimensions.
Moreover, the lamphouse has been enlarged and the ventila-
tion facilities improved so that even a 500 watt lamp of the
type used in 35mm. portable projectors, may be used. This
step forward in illumination facilities should do much to
encourage the use of 16mm. for exhibition to large audiences.
The desirable Victor features of automatic film trip, adjust-
able shuttle and other refinements have, of course, been re-
tained in this new series, which ranges in price from $175 to
for complete equipment.
New library idea ■ Complete exploitation material for
a series of 16mm. library releases,
such as has previously been provided only by professional
producing companies for theaters, is offered to dealers by
the Home Film Libraries, Inc., 500 Fifth Ave., New York City,
in announcing that they have secured national sales rights on
a group of the comedies and novelties of Educational Pic-
tures, each of which has never before been released to the
home field, it is said. Press sheets, ad cuts, star photos,
posters and other material for publicising these releases,
which they claim as "the cream of the comedy field," will
be available as an aid in sales and rentals to each dealer
handling the films. All Home Film Libraries are now stocked
with the twelve new films and [Continued on page 79]
News of the industry
When the production fails to click
65
PAUL D. HUCON
WHEN all the efforts of director, cameraman and
actors are over, even though each scene has been
individually projected as soon as made and found
acceptable, it is unfortunately common to find that the assem-
bled production, as a whole, lacks an indefinable something,
that it falls far short of desired standards, although it is
difficult to say just in what respect, and that it simply does not
"click." Disheartening as this experience may be, it is not
peculiar to the amateur producer. Bad films are also made
in the professional studios but they can usually be doctored
by the combined processes of editing, titling and retakes.
While there is, no technique that will guarantee in advance
one hundred percent success, there are simple methods for
detecting, after the event, the technical errors that have been
committed. To know them is often half the remedy. What
causes a film to "flop" when each individual scene appears
to have been acted properly? It may be a poor original story,
lacking in human interest, a story that leaves you cold, that
does not get under the skin. Almost any audience should be
able to judge of that. It may be, and far more often is, a
poor continuity which fails to develop the utmost of which
the story is capable, a continuity in which vital action is
slurred and trifles are magnified. Practically no audience
knows how to ascribe this kind of weakness to its true cause.
The actors will be blamed, or the director, or the scenario
in general, but it takes a specialist to say with certainty,
"The continuity was at fault." For example, the average
amateur likes to see dogs, kittens, horses and farm animals, so
he seldom loses an opportunity of inserting, after each long
shot in which an animal appears, a closeup of that animal.
But before using a closeup of an animal or of anything else,
the question should always be asked, "Does it advance the
plot, does it further the characterization or are there dramatic
necessities, such as the killing of time during an awkward
interval, for doing this particular thing?" Unless this ques-
tion can be answered in
the affirmative, the close-
up will actually retard
the tempo and hinder the
plot, which will be one
of the many reasons why
the film will not "click."
Even if the mistake has
How desired tempo
can be secured by
intelligent editing
ew Zealand Amateur Film Club
been made of first writing, then shooting, then using these
unnecessary and retarding shots, the tempo of the production
will often be surprisingly speeded up by the simple expedient
of cutting them out. A film is like a musical piece — unrecog-
nizable if played in a totally different tempo.
While the average production errs on the side of shooting
too many meaningless shots which retard the progress of the
drama, it errs even more on the side of securing too few
significant shots which could be used by the editor to build
up a dramatic scene that is found to lack footage and sub-
stance. Of all the possible kinds of shots that can be used
in building up a dramatic tempo, none is more important,
and none is less known among amateurs, than the reaction
shot. (This point also applies to other types of films as well
as to photoplays.) Given an average scene with two or more
players, there is a possibility of three kinds of effect: (1) a
combination shot embodying all the factors, showing all the
personages; (2) a medium or closeup shot of the principal
personage in action, as, for example, speaking or threatening ;
(3) a reaction shot, usually a closeup, of the one who is
being spoken to, or threatened, or of the one who witnesses
the action in which he has no direct part. In the talkies,
reaction shots are now being used in a very effective manner ;
one of the characters starts talking and the camera jumps
to the facial reactions of the listener while the speaker's voice
continues without interruption. Although this particular
effect cannot be reproduced in a silent film, an abundance
of reaction shots of all kinds and for every important scene
is the secret of editorial variation of tempo. The Russians are
past masters at that game and, thereby, produce overpowering
effects.
Provided the director has allowed enough pauses in his
principal action, such as Party A surprising Parties B and C,
the scene can be made as dramatic as desired by cutting into
the pauses of Party A some suspense building reaction shots
of Party B or Party C. This is as true in comedy as in tragedy.
The first thing to do when a film "flops," then, is to go back
to the cutting room, look over the unused shots and see what
closeups are available for insertion in the pauses of the
dramatic scenes that are now too snappy, unless the "flop" is
due to retarded tempo caused by the insertion of unnecessary
and insignificant shots which simply should be removed. It is
very seldom that a completed [Continued on page 74]
Too rapid tempo can
be slowed by showing
reactions of actors
66
FEBRUARY 1932
Pass up action like
No need to any
Cine-Kodak Super-sensitive
Panchromatic Film Records
In-the-hotne Shots with the
Light of 40-cent Lamps
J.HOSE parties you've had. Gay, lively
hours that have gone with the smoke of your
guests' cigarettes . . . unrecorded.
For many cinamateurs, movies of those
departed good times were difficult, expensive
to make. But now all movie makers can re-
cord their parties without fuss, trouble or,
costly equipment.
Here's all you need. Cine-Kodak Super-
sensitive Film... the film that puts every
movie camera on 24-hour duty, in dull
weather or fair, indoors or out. And one or
more 64- volt, 100 -watt Mazda lamps that
produce unusual brilliance when used on the
110-volt home lighting circuit. Then shoot
to your heart's content.
You've probably used Cine-Kodak Super-
sensitive Film already, under normal condi-
tions or even unusual ones. You know, then,
that it "sees" faster . . . requires considerably
less illumination than ordinary "Pan" film . . .
materially increases your camera's range.
Now try it in your house at night . . .with
the new 64-volt, 100-watt Mazda lamps.
Your Cine-Kodak dealer will furnish them
for you at 40 cents each.
Better see him today. Get some of these
Cine
Film
ing m<
i
E
I
MOVIE MAKERS
67
this?
lore
The card hands you've played and discussed are nothing
but fleeting memories now. Be ready at your next card
party to record them on Cine-Kodak Super-sensitive
Panchromatic Film.
Ready! Action! Camera! The game room becomes a
favorite movie location. Action like this can be success-
fully recorded on Cine-Kodak Super-sensitive Film under
the light of a few 40-cent, 64-vo/t lamps.
FILM IF THIS
SEAL IS
BROKEN.
Cin<
Lodak
\
lamps and an ample supply of
: Super - sensitive Panchromatic
you're all set for new and excit-
d ventures.
PANCHROMATIC
Safety Film
BASTMA^KODA^.,
Tn,*M..W«J« ••";•„ -d.A^rl,««
. _- _..H he 0*1 ****" , j-nujCTil C "."i iii.j
„,« „»-»;!«: «■»'»•' ■' '•'.'•■' j-£tf
NOTICE: "H' ;J, .,,. .'«•';„ , ^""l ,„.,,...■.<- ^ c(A« "-""
£vST'"l""pi,L^u»."J*," - "— t
Cine-Kodak Super-sensitive Panchromatic Film may be had in 100-foot and 50-
foot rolls. The 100-foot roll costs only $7.50; the 50-foot roll sells for $4.00. Cine-
Kodak Panchromatic Film is now available at $6 for the 100-foot roll; $3.25 for
the 50-foot roll.
stman Kodak Company
ROCHESTER
NEW YORK
66
tions or even unusual ones. You know, then, for you at 40 cents each.
that it "sees" faster . . . requires considerably Better see him today. Get some of these
£
FEBRUARY 1932
66
MOVIE MAKERS
Vass up action like this?
No need to any more
Cine-Kodak Super-sensitive
Panchromatic Film Records
In -the- home Shots with the
Light of 40-cent Lamps
JL.HOSE parties you've had. Gay, lively
hours that have gone with the smoke of your
guests' cigarettes . . . unrecorded .
For many cinamateurs, movies of those
departed good times were difficult, expensive
to make. But now till movie makers can re-
cord their parties without fuss, trouble or
costly equipment.
Here's all you need. Cine-Kodak Super-
sensitive Film... the film that puts every
movie camera on 24-hour duty, in dull
weather or fair, indoors or out. And one or
more 64-volt, 100-watt Mazda lamps that
produce unusual brilliance when used on the
110-volt home lighting circuit. Then shoot
to your heart's content.
You've probably used Cine-Kodak Super-
sensitive Film already, under normal condi-
tions or even unusual ones. You know, then,
that it "sees" faster . . . requires considerably
less illumination than ordinary "Pan" film . . .
materially increases your camera's range.
Now try it in your house at night . . .with
the new 64-volt, 100-watt Mazda lamps.
Your Cine-Kodak dealer will furnish them
for you at 40 cents each.
Better see him today. Get some of these
inexpenSlve lamps and an ample supply of
Cine-^dak Super -sensitive Panchromatic
Film. l0en you're all set for new and excit-
ing n#le adyentures.
The card hands you 've played and disc lined are nothing
but fleeting memories now. Be ready at your next card
parly to record them on Cine-Kodak Super-sensitive
Panchromatic film.
Ready.' Action! Camera! The game room becomes a
favorite movie location. Action like this can be success-
fully recorded on Cine-Kodak Super-sensitive Film under
the light of a few 40-ceut, 64-volt lamps.
Cinl W /kodak
Giiper-senstifc
U ■" PANCMBOMATIC
Safet/Film
Cine-Kodak Super-sensitive Panchromatic Film may he had in mo-foot and 50-
foot rolls. The mo-foot roll costs only $7.50; the 'jo-foot roll sells for $4.nn. Cine-
Kodak Panchromatic Film is now available at $6 for the t no-foot roll; Si. 25 for
the 50-foot roll.
Eastman Kodak Company \
OCHESTER
NEW YORK
68
Nancy and Bob
Were funny kids
Up to all sorts of fantastic mischief,
frolic and fun. How these capers
and pranks may be relived in years
to come is an open secret to users
of Filmador. Memorable phases of
childhood need no longer prove
elusive .... Stored in Flimador,
pictures depicting the bright, spar-
kling memories of happy play, will
live, a constant reminder of each
endearing phase.
Filmador provides ideal film storage
conditions, absolutely preventing
the quick changes of temperature
and the drying out which are so
ruinous to film.
Filmador consists of two heavy
aluminum containers, one with'
in the other, with a half inch
dead air space in betwen. The
inner container is humidified
and accommodates three 400
foot reels of 16mm. film.
Price $5.00
ITlmadop
BELL & HOWELL GO.
Winter sport films
[Continued from page 56]
held in the hand. Though the cine-
matographer may himself be taking ac-
tive part in the sports he is capturing
on the film and may not wish to be
bothered with the tripod, yet he will
feel well repaid for his extra trouble
when the pictures are projected.
If there is sufficient light, a color
filter can be used to advantage. In win-
ter filming across ice and snow, the
graduated filter finds less use than the
regular filter because of the high lumi-
nosity of these substances. Use the lens
hood. It helps considerably in reduc-
ing glare and in giving snap to pictures.
The exposure meter finds more exten-
sive use in winter photography than in
general summer work because the cine-
matographer usually possesses, from ex-
perience, a fair idea of correct ex-
posures under a summer sun. In the
winter, however, it is very difficult to
judge accurately the strength of the
light since it is weaker photographical-
ly than it is visually.
Correlate the film to the probable
light conditions. If it is a bright day,
use the slower film; if the day is dull or
if the exposures are to be made in the
late afternoon, use the faster film. For
a reserve, carry a roll of fast film; the
best opportunities have a way of ap-
pearing just after you have exposed the
last foot or when the light has become
too weak.
Be careful of the camera spring in
cold weather. Don't wind it up too
tightly; metal contracts with the cold.
As a rule, scenes will not run more than
twenty feet and, though the extra re-
serve winding will occasionally find a
use, it is better not to wind to the maxi-
mum but to wind only enough to take
care of a single scene and then rewind
for the next.
And if Lake Placid is too far away,
try the nearest pond or hill. You will
get all the thrills and spills just the
same and possibly a few more of the
latter! And don't forget the learners;
a person who is on skates or skis for the
first time can provide a good deal of en-
tirely unconscious comic relief for your
winter reel. If cold feet keep you from
the ponds and sled runs, stage a snow-
ball fight in the back yard. Then the only
discomfort necessitated will be in open-
ing the back window and leaning out.
1843 Larchmont Avenue
Chicago, 111.
Celluloid that sells
[Continued from page 63]
photograph machinery it may be neces-
sary to "makeup" the machine. Dim
down the polished parts with a lump
of putty to kill halation. Do not permit
some pulley system in the distance to
distract attention from the subject. Do
not permit persons to walk around in
FEBRUARY 1932
the scene. This should also be observed
in making outside shots.
Write a scenario, just as in the case
of a drama. Make a complete and
smooth continuity. Figure just how long
it will take an average man to grasp the
point and then add twenty five percent
to that footage for the slower ones.
A man who bought a dairy farm
wanted to build business. His son had
a camera. He called on his town pros-
pects with a 400 foot reel already
threaded in the projector and even the
housewives fell for the suggestion of
looking at a motion picture. He opened
with a filthy barnyard scene with the
hired man smoking his pipe as he
milked. Then he switched to a scrawny
baby in a soap box cradle. Next he
flashed the picture of a lusty baby
wreathed in smiles and very little else.
There followed shots of the farm, with
brief, explanatory titles, and the film
ended with the sign above the gate and
a close up of the Visitors always wel-
come which formed part of the sign.
They simply had to buy more cows.
A common use of motion pictures is to
record the progress of new construction.
Scenes are made at regular intervals and
properly dated by stepping into the
scene with a dated cardboard. For this,
certain viewpoints should be selected
and the shooting always done from these
points. This shows the progress of the
work and roughly indicates the amount
of building material on the ground. An-
other and perhaps more valuable use is
the analysis of motion. Production can
be speeded up by using the fewest pos-
sible motions for a given operation.
Select some deft workman, photograph
his hands and then use this film for the
purpose of standardizing the work.
In one factory, any accident is imme-
diately followed by the photographing
of the scene of the trouble with the idea
of being able to fight a suit for heavy
damages. Only occasionally is the pho-
tographic record required but the cam-
era has saved its cost many times over.
One construction company receives a
weekly report from each field unit in
the shape of a reel of film. After the
job is completed, some of the best of it
is incorporated into the general library
from which the salesmen draw such ex-
ample as they may require in selling
new work. Perhaps a new prospect
wants to build a dam. The salesman
does not tell him what fine dams his
company can make. He shows him, step
by step, how this and that dam was
built. If the prospect desires a concrete
bridge or a new factory, the same idea
but different film is used.
The amateur movie camera continues
to give pleasure to the hundreds of
thousands who seek diversion and to
make all important family and personal
records but many of these happy own-
ers are also discovering invaluable busi-
ness uses for their equipment.
MOVIE MAKERS
There's gold in junk
[Continued from page 55]
also some disconnected shots of office
buildings, exteriors of museums, New
York alleyways, etc., all uninteresting
until the idea was evolved for the au-
dience to see these various shots from a
rubberneck bus. I invented a rubber-
neck man. The pithy titles, smacking
of New York slang, were wholly his.
The audience never once saw the rub-
berneck bus, never once met the rubber-
neck man face to face but, nevertheless,
it felt their presence. Indeed, its imag-
ination was most happy to oblige, be-
lieving in the existence of the rubber-
neck man as he cheerfully explained the
various points of interest for the enlight-
enment of the lady from Iowa and the
bachelor from Bangor. When the school
marm from Maine inquired the fate of
the turtles in a turtle race taking place
on the sidewalk, the rubberneck man's
reply was conclusively characteristic,
Lady, the fast ones make the racetrack
— the slow ones make the soup.
And speaking of soup reminds me of
still another picture, successful because
it hung from a central frame. This
short subject was called From Soup To
Nuts and what I did was to show how
the earth served up dinner. I began
with oysters — jut as one's dinner be-
gins— and ran a scene of oysters being
drawn out of their cozy beds. The next
course at a dinner being soup, I utilized
some footage of rice fields in China,
saying that the rice soup we were eating
at this dinner had its inception there.
Fish came next. That was an easy or-
der for we had several cans of fish to
choose from. Of course we did not neg-
lect the relishes. We showed celery be-
ing harvested and olives gathered from
the grove. The titles were very simple.
Occasionally, I wrote them with my
tongue in my cheek. I could not help
but poke fun at the chicken farm that
was providing our roast and so I in-
dulged in, The white meat grows in the
daytime — the dark meat grows at night.
So you see how easy it was to make the
reel once I caught hold of the theme.
Now about titles. Too many titles or
titles that are lengthy destroy the flow
of continuity. Try to write titles in as
few words as possible. Make them
short and pithy. Never use three syllable
words or fancy lettering or script type.
Use too few titles rather than too many.
Remembering that the eye must change
its medium from picture to print, keep
your medium of picture as long as you
dare — and then a little longer, just to
be a modernistic rebel. Try to limit
yourself to titles containing two lines or
less and tell only that which absolutely
needs to be told — in sixteen words or
under. If you do this, you'll discover,
as I did, that there is gold in junk.
69
ZEISS^CINE LENSES
are used throughout the world
BIOTAR F1 .4,TESSAR F2.7 and F3.5JELE-TESSAR F6.3
■ FINDERS ■ FILTERS ■ SUN-SHADES ■
FOR STANDARD and 16 MM MOVIE CAMERAS
CARLZEfSS, INC., 485 FIFTH AVE., NEW YORK. 728 SO. HILL ST., LOS ANGELES
Perfect Exposures . . .
Every Time!
Do You Wear Glasses?
Then why must you always have
to remove them to use a " 'squint
tube" to make an exfosure
guess? . . . when simfly by
pressing a button, at a glance
you obtain a quick, accurate
reading with the electric eye of
the ELECTROPHOTl
ELECTROPHOT
photoelectric EXPOSURE METER
A perfect exposure every time, for the
finest screen reproduction, without wast-
ing' a foot of film due to guesswork . . .
that's the ambition of every movie maker.
And it is realized by using the ELEC-
TROPHOT. The guesswork is removed.
ELECTROPHOT eliminates the human
element and the unknown variations of
the human eye. ELECTROPHOT' S elec-
tric eye records TRUE light conditions
on a dial scaled from //l to //32, giving
you the exact lens setting for ideal ex-
posure. No waste film, no waste time.
No sighting, no calculating. Every shot
is successful, even those quick ones leav-
ing no time for "visual estimating."
ELECTROPHOT immediately indicates
whether color or other special work is
possible, and when to use the new super-
speed film. ELECTROPHOT is compact,
easy to carry. Complete with genuine
leather case, $35.00 in the U. S. See your
dealer or write direct for descriptive lit-
erature.
J. THOS. RHAMSTINE*
Manufacturer of Precision Electrical
Apparatus for 12 years.
501 East Woodbridge Detroit
70
FEBRUARY 1932
HOME FILM LIBRARIES
OFFER A SERIES OF SILENT 16MM. RELEASES OF
EDUCATIONAL FILM EXCHANGES, Inc
Through an arrangement with this leading producer of short subjects, we are able to
release for sale these silent comedies in 16 mm. size, never before available to the home
field. Uproarious comedies of a good clean sort, they will add spice to any program. For
sale through our dealers. Write us for the name and address of the dealer in your city.
THE FIGHTING DUDE
with Lupino Lane
Two reels (comedy)
.$60.00
DON'T FAIL
A Cameo Comedy
One reel
.$30.00
STUPID BUT BRAVE
with Al St. John
Two reels (comedy) ....
CHEER UP
$60.00
FELIX THE CAT
Trips Through Toyland
One reel (cartoon) $30.00
JONAH JONES
with Lloyd Hamilton
Two reels (comedy) $60.00
NO FOOLIN'
A Cameo Comedy
One reel $30.00
One reel
A Cameo Comedy
.$30.00
THE STUNT MAN
with Larry Semon
Two reels (comedy)
.$60.00
FAST AND FURIOUS
A Mermaid Comedy
Two reels $60.00
DESERT BLUES
A Cameo Comedy
One reel $30.00
GO EASY
A Cameo Comedy
One reel $30.00
ME AND MY DOG
A Bruce Scenic
One reel (novelty) $30.00
HOME FILM LIBRARIES
500 FIFTH AVENUE
INCORPORATED
NEW YORK CITY
Drop a line to BASS
Bell & Howell Model
JL gearless projector
with the new 400 watt
biplane filament lamp.
Complete with new type
case, $298.00. Kodacolor
unit, $35.00.
LET'S SWAP! You want the new Bell & Howell
Projector Model JL ! The crowning achievement
of the master cine machinery builders.
Bass . . . international camera trader . . . will
make it possible for you to own this fine instru-
ment. E-A-S-Y! Your old projector taken in
exchange at a liberal allowance.
Geared takeup, automatic internal rewind, re-
verse, still projection, amazing large sharp lens,
new 400 watt biplane filament bulb gives un-
dreamt of illumination.
Send for a copy of the new Bell & Howell Catalog
and the Bass Bargaingram . . . apparatus to
gladden the heart of amateur and professional.
And remember your old camera or projector are
worth money. Write to trading headquarters.
Bass Camera Co., 179 W. Madison St.
Chicago, U. S. A.
Please send me at once your latest Filmo
Catalog and Bargaingram.
Name
Address
City
I want to trade.
BASS
CAMERA COMPANY
179 W. Madison Street
CHICAGO
"Psyching" cine comedy
[Continued from page 58]
superimposed upon those of the pre-
vious item with the proper timing, it
would be possible to work the audience
up to the "rolling in the aisle" status.
This should be aimed for by adjusting
the length of each sequence so that it
will be as short as possible and still
get the point over completely.
This brings us to the final type of
humor in our classification, that of dou-
ble interpretation. A pun may be pre-
sented by a picture as well as by the
printed page but, as a general rule, the
poorest of comic items in an amateur
newsreel will be picture puns. An illus-
tration of this effect would be the title,
Authentic pictures of Timothy Smith's
record breaking hammer throw, fol-
lowed by Baby Timothy dropping a
hammer on one of the family's red seal
records, cracking it into several pieces.
Although only a few suggestions have
been offered here for actual comedy
news items, if the amateur will study
the types and then apply the rules, there
is no reason why his comedy newsreel
should not be the hit of the program.
An aid to closeups
[Continued from page 57]
or to arouse a distinct emotion, the soft
focus lens is without peer. In this type
of photography, it directly assists in sup-
pressing the extraneous detail which
would tend to confuse the mind rather
than enhance the spirit of the scene.
In actual use, it should be remem-
bered that, in practically every soft fo-
cus lens, the degree of diffusion may be
controlled by the diaphragm. Of course,
in filming exteriors, this is an adjust-
ment which cannot be varied to a great
extent but, in interior work where arti-
ficial lighting is used and where the in-
tensity of the light is subject to control,
this fact gives a potential range of cine-
matic effect which is decidedly a chal-
lenge to technical ability.
The amateur who has not enjoyed the
pleasures of working with soft focus
should, by all means, secure one of these
inexpensive lenses and give his imagina-
tion full range. There is just one word
of caution to be uttered. Enthusiasm
should not be allowed to run away with
him, for the soft focus lens is not by any
means a universal lens, nor is it adapted
to every subject. It may be truthfully
said that the subjects to which the soft
focus lens is adapted are somewhat lim-
ited, but those to which it is adapted will
be recorded so much better by it that
its use will be entirely justified. Use
the soft focus lens but use it judiciously
and it will come to be regarded as one
of the most valuable components of the
lens battery.
MOVIE MAKERS
71
Featured releases
for home and school
| This department is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films , in the main,
have ?iot been examined by Movie Makers.
■ Bell & Howell Co., Chicago. Filmo Library
releases for February comprise 151 sound on disk
Pathe subjects. Of these, thirteen are Grantland
Rice Sportlights; sixteen are Aesop's Fables;
sixty seven are two reel comedies; four are of the
Song Series; one is a miscellaneous subject en-
titled Over There Today; eight are of the Vaga-
bond Series; forty two are features with Pathe's
foremost stars.
■ Eastin Feature Films, Galesburg, 111. The
subjects especially emphasized this month are
Bear Hunting I?i The Rockies, Scenic Grandeur
Of The Yellowstone, Scenic Grandeur Of The
Yosemite, The First Flying Machine, Jungle Of
Prehistoric Animals, Yellowstone's Thundering
Herd, Wild Life In Yellowstone Park, Scenic
Grandeur Of Glacier Park, Geysers And Hot
Springs (Yellowstone) and The Pilatus Railway
(Switzerland). Jack And The Bean Stalk, 400
ft., is offered especially for children.
■ Eastman Kodak Co., Rochester, N. Y. The
Cinegraphs offered by this library, including ad-
venture, natural history, animated model and
cartoon, World War, comedy, travel, sport and
general subjects, provide a wide range of splen-
did film fare. A new catalog is available.
■ Empire Safety Film Co., N. Y. C. Educa-
tional, scenic and sport films are listed in the
catalog of this company, available upon request.
■ Haselton, Guy D., Hollywood. On The
Waives At Waikiki, 150 feet, is featured by this
library. Combining photographic beauty and lots
of fast action, this water sport film is of unusual
interest.
■ Hemenway Film Co., Boston, Mass. Depict-
ing the life of Christ, The Passion Play, de-
scribed as more elaborate than the Oberammer-
gau spectacle, is available in five reels.
■ Holmes Lectures, Burton, Inc., Chicago.
The travel films of this famous lecturer are
offered as ideal for inclusion in the home pro-
gram. An illustrated catalog is available
■ Home Film Libraries, N. Y. C. Twelve
silent 16mm. releases of Educational Film Ex-
changes, Inc., are newly featured by this library.
The Fighting Dude, with Lupino Lane; Don't
Fail, a Cameo Comedy; Stupid But Brave, with
Al St. John; Cheer Up, a Cameo Comedy; Fast
And Furious, a Mermaid Comedy; Desert Blues,
a Cameo Comedy; Felix The Cat, a cartoon;
Jonah Jones, with Lloyd Hamilton; No Foolin ,
a Cameo Comedy; The Stunt Man with Larry
Semon; Go Easy, a Cameo Comedy, and Me And
My Dog, a Bruce Scenic, are available.
■ Kodascope Libraries, Inc., N. Y. C. Why
Sailors Go Wrong, a feature picture with Nick
Stuart, Sally Phipps, Sammy Cohen and Ted
McNamara, is offered this month, together with
Aladdin And The Wonderful Lamp, a lavish
production of the Arabian Nights story. Over
500 other subjects are listed by this library
which has branches throughout the U. S. and
Canada. A catalog is available upon request.
^Reynolds, E. M., Cleveland. Kaleido Capers,
showing the results when a camera is used with
a kaleidoscope, and Westward Bound, presenting
western scenes, both films 100 feet in length, are
offered. A catalog listing many other subjects is
available upon request.
NEW
LOW
PRICES i.
&>
Aj»
t>°S C**S °^??&«* mU °* Set *
\e<"
>JV
«^\r
*' aflO*
tf^TcA^
&&&~
W^'
ds*
.v»t*
c,vrf*>
\&c
Price
$175
Can be fitted with reverse attachment for double exposures or lap
dissolves at slight additional cost.
THE REGULAR ENSIGN AUTO KINE-
CAM IS THE OUTSTANDING VALUE
IN 16 MM. MOVIE CAMERAS AT $99
Send for Booklet
WILLOUGHBYS
HO WEST 32nd STREET, NEW YORK
72
FEBRUARY 1932
Get Steady Pictures with
THALHAMMER JR.
Get: steady pictures, more enjoyable
pictures, by shooting every scene from
a tripod. The Thalhammer Jr, with its
• smooth panoraming and tilting action,
is the choice of many particular ama-
teurs. Ask your dealer for a demon-
stration. Price complete $25. OO
For Convenience . . .
The BL
The amateur Tripod and Pano-Tilt
^ built to professional standards. The
ultimate in convenience, utility and
appearance.
THALUAMMEI^
123 South Fremont Ave.
i Los Angeles
Represented by Craig and Ampro
Closeups — What amateurs are doing
JAMES W. MOORE
■ Offering his aid and counsel to all
League members planning a trip to the
Winter Olympics, a letter has been re-
ceived from Dr. Hyman Weiner, A.C.L.,
23 William Street, Saranac Lake, N. Y.
■ Making movies of the midnight sun
was the achievement of League member
Arthur D. Hobson, Sheffield, England,
on a vacation trip this past summer to
Finland, Lapland and the Polar Sea.
The scenes were shot on a clear, dark
night from twelve o'clock midnight to
two in the morning at apertures of
from f/2.8 to //2. Other outstanding
sequences of Mr. Hobson's vacation
filming are telephoto studies of tern,
eider duck, ptarmigan and many of the
other abundant northern seafowl.
• Climaxed by a stunning sextuple ex-
posure, En Familia, from the camera
of Enrique Cox, Santiago, Chile, is a
family film that tells both a coherent
story and thrills the cinematic eye. It
presents a large and jolly family group
gathering on a Sunday at the maternal
homestead. Bit by bit, at each arrival,
the tempo of activity mounts, swirling
from one guest to another but center-
ing always about the quiet, philosophic
mother. Ever more swiftly the film
cuts from one member of the family to
another, each in a characteristic ac-
tivity, to culminate at last in the mul-
tiple exposure showing simultaneously
all of these activities centered about
the mother.
■ A two thousand foot record of the
recent Yorktown Celebration in Virginia
was made by P. W. A. Fitzsimmons,
Detroit, Michigan, with more than a
quarter of it taken in Kodacolor. "If
you did not chance to be there," he
writes, "you can scarcely realize the
brilliance of the uniforms and of the
settings." On a trip last year to Carib-
bean and Gulf countries, Mr. Fitzsim-
mons found the costumes of Guate-
malian Indians and the tropical flowers
ideal subjects for color work.
B A "family film exchange" is the name
Mrs. Gertrude Reeves, A. C. L., Beverly
Hills, Calif., gives to her scheme of
joining with relatives in the East for
Thanksgiving and Christmas. Last year
in November she sent a newsreel film
east. Again this year at Thanksgiving,
she joined them on film and with such
inspiration to the home folks that they
immediately bought a camera, started
shooting and returned the compliment
at Christmas.
■ How, during the reading of a dreary
paper on Russia, one member of a
women's club falls asleep and dreams
of quixotic existence in a sovietized
America, is the story of a women's club
film in production by Miriam Bennett,
A. C. L., of Kilbourn, Wis.
■ To piece out his film record of the
French Colonial Exposition, Hans
Hagen, A. C. L., Mentone, South France,
used the special Exposition number of
U Illustration. Clipping the large pic-
tures, he used them as title backgrounds
and has matched them so neatly with
his original material that no one, he
claims, has yet observed the deception.
■ Memphis (Tenn.) amateurs have
been making movies while the sun
shines, according to the report of H.
L. Martin of that city. Dr. Casa Collier
has returned from Africa with unusual
scenes of an elephant charge, wallow-
ing hippos and dancing natives. Harry
Wilson, A.C.L., is at work on An Auto-
biography Of Dad, a record film for his
children in future years. Against the
background of a Mississippi island, Dan
Hamilton, Memphis youngster, has shot
a film story of pirates and treasure
trove, while Godfrey Mayor, A.C.L., is
now at work on a film of southern life.
Bell & Howell
Gene Tunney is out for
new laurels, this time
as amateur cine "champ"
■ Howard E. Richardson, A. C. L.,
Rochester, N. Y., reports the regret-
table loss by theft of his entire still
and cine photographic equipment. He
gives the serial number of his Koda-
scope C projector as 19569 and Movie
Makers urges the attention of its read-
ers to such a machine offered for sale.
MOVIE MAKERS
73
H,
Camera Proves
all f.5.5
lenses are
NOT
the same
Cine-Kodak, Model M . . . the quality camera of the low-price range . . .
shows greater versatility than other f. 3.5 cameras in open-diaphragm test
-ERE is the real test of an/.3.5 lens. What
kind of pictures do you get in the dim light
of early dusk... on cloudy days... under arti-
ficial light indoors?
With plenty of sun, almost any lens will
perform satisfactorily. But when you must
shoot with the diaphragm wide open. ..that's
another story.
The lens on the Cine-Kodak, Model M, is a
true a.na.stigma.t /.$.$. And it's no mere "fair-
weather" lens, for it gives you the same superb
picture quality throughout the range of dia-
phragm stops. When light conditions call for
the largest stop, you'll still get clear, sharp
and well-defined movies.
You'll find the Model M dependable. Its
sturdy motor is always ready for action. No
starting failures. Light and easy to carry. Con-
venient to hold. The eye-level finder gives
you full vision. And, like all Cine-Kodaks, it's
simple to load and easy to use. See the $75
Model M at your Cine-Kodak dealer's. Then
you, too, will be enthusiastic. Eastman Kodak
Company, Rochester, New York.
Cine-Kodak, Model M, with Kodak
Anastigmat f.3.5 lens, fixed-focus;
including portrait attachment for
close-ups and permanently attached
winding crank; complete with carry-
ing case .
74
I
Sensational MOVIE OFFER!
just 250 at FAR BELOW
HALF PRICE
De Vry
AUTOMATIC CAMERAS
ELECTRIC PROJECTORS
ABOVE, THE CAMERA
The dependable Graf f/3.5
anastigmat lens in standard
mount. Powerful automatic
motor. Uses 16mm. film.
BELOW, THE PROJECTOR
Model D. Suited to 50 ft.
throws. Uses 250 watt prefo-
cused lamp. Operates on either
AC or DC.
Regular Prices
Camera $57.50
Projector 98.00
Total $155.50
ABE COHEN'S
PRICE FOR BOTH
%
50
Here is one of the
greatest values ever to
be offered in automatic
cameras and projec-
tors. A handsome,
rugged, accurate DeVry
Automatic Movie Cam-
era— and a powerful
projector that present
beautifully clear, pro-
fessional quality pic-
tures. A special quan-
tity purchase by Abe
Cohen's makes possible
this sensationally low
price.
69
COMPLETE
AbeCohensExchange
120 FULTON ST NEW YORK, N. Y.
DEALERS— Write in for special
proposition in your territory.
If You "Shoot Titles"
The League Can Help You
The experts make beautiful titles, yes, but there are times when
everyone wants to try his own hand at them.
The Amateur Cinema League has a special service to answer this
very need. Our TITLE SERVICE is personal, definite, effective
and a "soup to nuts" plan for you. It tackles your problems and is
not just a pleasant lot of general advice but something designed
for you and you only.
This League TITLE SERVICE is available only to League members.
You already read Movie Makers and spend $3.00 a year to do so.
Make it $5.00 and get the full League membership aid. If you buy
Movie Makers at your dealer's, send the whole $5.00. If you are a
regular subscriber, listed at League headquarters, send only $2.00
additional to what you have paid already.
USE THIS BLANK TO SECURE EXPERT AID
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance
for $ , made payable to AMATEUR CINEMA LEAGUE, Inc., is enclosed
in payment of dues. Of this amount, I direct that $2 be applied to a year's subscription
to MOVIE MAKERS. (To nonmembers, subscription to MOVIE MAKERS is $3 in the
United States and possessions; $4.00 in Canada; $3.50 in other countries.)
MEMBERSHIP $5 a year (Canada $6).
LIFE MEMBERSHIP $100 in one payment and no further dues
Name Street
City State Country
One of the Amateur Cinema League's animated leaders is free with this membership.
Please state width you wish — 16 mm. — 9.5 mm. — 35 mm.
FEBRUARY 1932
Simulated cinematics
[Continued from page 59]
patience and ingenuity, and he will be
absolutely right. He will find that care-
ful planning is necessary to the small-
est detail and that each stage of filming
presents a new problem. However, solv-
ing these problems is what lends such
fascination to the game.
The- "Table:
©:
Designer's plan for one type
of special table with which
to essay simulated cinematics
The magic of the moving camera is
least important of the effects obtainable
through simulated cinematics. Shad-
ows gradually advancing across the
center of the picture area; double side
lighting which slowly merges to form
beautiful backlighting with the accom-
panying crisscross of shadows on the
floor of the "stage"; a simultaneous
journey of the camera and lights around
the still life subjects with the lights
suddenly stopping and the camera com-
pleting the circuit alone, these are some
of the many possible variations.
When the production
fails to click
[Continued from page 65]
film fails owing to poor camera work,
since this has been checked scene by
scene as the production went along. But,
if a sequence calls for accelerating
tempo, as, for example, of an automobile
chase in which each scene must be han-
dled to appear on the screen slightly
faster than the one just before (as illus-
trated in Harold Lloyd's productions),
it is up to the cameraman to be fore-
warned. As to the director's own failure
to secure proper tempo in the acting, lit-
tle can be done except retake. If a char-
acter runs upstairs instead of walking,
no editing can change that.
Some find the use of phonograph rec-
ords, played at accelerated or retarded
tempo, exceedingly helpful to put them
in the right mood while they are work-
ing. It should be remembered that to
MOVIE MAKERS
75
slow the tempo appreciably causes one
to breathe more slowly and, therefore, to
feel more dramatically tense, while fast
tempo creates a light hearted feeling.
It is a very poor production, indeed, that
cannot be improved fifty percent, as re-
gards tempo, by making use of the
methods that have just been indicated.
The
clinic
[Continued from page 60]
and underexposure. This correction is
not abrupt but comes gradually through
several frames. As the correction occurs
for the hopelessly overexposed frames
of the sun, it tends to fade out on the
last dozen frames of the preceding
scene. — H. E. Richardson, A.C.L.
"Angles" ■ From the magic bins of
the "five and ten" come
these little helpers of that name. A
dash of ingenuity and a few assorted
bolts will transform these little pieces
of bent iron into a definite camera use.
The illustration shows an upside down
or reverse camera support and indi-
cates clearly the method of assembly.
It may resemble one of Rube Goldberg's
wildest inventions but it works and,
when necessity calls, results count, not
looks. — R. H. Griffiths.
The "five and ten" furnished
the gadgets to build this
upside down camera support
Asked and answered ■ Q u e s-
t i o n :
I understand that ultraviolet light af-
fects a photographic emulsion very
strongly. Why is this fact taken into
account so seldom when considering ex-
posure? Answer: You are correct in
your assumption that ultraviolet light is
very actinic. Sunlight is rich in it and,
although it is invisible to the eye, ultra-
violet would affect the film strongly but
for one reason. Glass is practically
opaque to it. Therefore, since the lens
is made of glass and offers the only
means of ingress to the light which
affects the film, most of the ultraviolet
is filtered out. Quartz will transmit
ultraviolet and a lens made of this
material would greatly shorten the time
of exposure. However, it would be next
to impossible to get a sharp, clearly de-
fined image from such a lens that would
be suitable for screen magnification.
The Kalostat lens, made for still pic-
tures, is of quartz composition and pro-
duces a pleasing softness for portraits.
Educational films
[Continued from page 62]
secretary, has personally made films
of college life for publicity pur-
poses and Prof. M. Wittier, educational
department, is instructing future teach-
ers in the use of 16mm. equipment.
Coach Duke, assisted by George Cush-
man, student and A. C. L. member, has
made films of athletes for instruction
purposes and to prove that the school's
star high jumper, whose style has been
questioned at several meets, conforms
with national rules. Mr. Duke believes
that before long the finishes of all races
will be filmed to avoid controversy as
to the winners. ■ Syracuse University
In 1930, 3,000 ft., 16mm., by Prof. R.
F. Piper, is a detailed film survey of
that institution. Distributed nationally
to alumni and high school groups to
stimulate graduate interest and future
attendance, the film, which cost $285,
has already netted $325, Prof. Piper
reports. ■ Class records, formerly
made at Princeton by a professional,
are now made on 16mm. by a student
committee of amateurs, thereby enabling
many more events to be covered than
was before possible, Laurence B.
Rentschler, of whose films many have
been duplicated for class records, re-
ports. ■ Willingness to vote at a diplo-
matic conference for the abolition of
customs duties on the circulation of edu-
cational films has been reported of
thirty nine countries which have so in-
formed the International Educational
Cinematographic Institute in Rome.
Albania, Australia, China, Colombia,
Costa Rica, Denmark, Egypt, Ecuador,
Estonia, Great Britain, the United
States, Finland, France, Greece, Hun-
gary, Ireland, the republics of South
America, Poland, Sweden, Belgium,
Spain, the Union of South Africa, Switz-
erland, Yugoslavia, Siam, Italy, Nor-
way, Lithuania, Latvia, Mexico, Monaco,
New Zealand, Germany, Portugal and
Roumania promise to support the move.
Legal ■ To make identification more
positive, 16mm. films taken
by a friend before the recent fatal shoot-
ing of W. W. McConnell, superintendent
of Winfield, Kansas, schools, have been
shown to a pistol dealer in an effort to
determine whether or not it was to Mc-
Connell that a revolver was sold shortly
ONE OF THE TEN
BEST PICTURES
Dr. Charles Francis Chapman
of Mt. Kisco, N. Y., Writes:
My dear Mr. Eno:
I have long neglected writing you
to tell you that the sport reel (Indian
Baseball picture) which you so skill-
fully edited and spliced for me was
selected as one of the ten best pic-
tures of the year, out of one thou-
sand examined by the Amateur
Cinema League. It has been pro-
jected many times and receives en-
thusiastic praise. I have had no pro-
fessional editing done since, but shall
consult you when I do.
Cordially,
Charles F. Chapman.
FREE TEST FILM
Test Film obviates the nuisance of
having your introductory titles go
by before your film is well focused.
While your lights are still on, a
correct focus may be obtained if
Eno's Test Strip is spliced into your
leader.
Send $2.00 and copy for two short
titles. A Test Strip will be given
free with every order.
DISTINCTIVE KODACOLOR TITLES
(Hand Lettered or Printed)
48 HOUR SERVICE
RALPH R. ENO
A merica's Pioneer (16m?n.) Art Title
Builder and Film Editor. Charter
Member A. C. L.
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
Telephones: PEnn 6-2634 PEnn 6-7747
76
FEBRUARY 1932
N
for Outdoor
Winter Movies
EWMANLITE
FLARES
Provide the most effective
illumination in this sphere
of work. Used with new su-
persensitive film, these make
night photography delight-
fully and unbelievably sim-
ple. You achieve exquisite
effects in winter photog-
raphy. Fine granularities in
snow, light and play of shad-
ows on the wintry expanses —
photograph as never before.
Newmanlite Flares are used
by explorers and naturalists
the world over.
Booklet and prices
on request.
I.C. NEWMAN CO., Inc.
545 FIFTH AVENUE
NEW YORK, N. Y.
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBERAMMERGAU stage play-
RELIGIOUS -INSPIRING - EDUCATIONAL
5 REELS -2000 FT.-I6 MM.
(COMPLETE STORy ) Price 0150.00
Buy Oft RENT FROM DEALER OR DIRECT FROM
37 CHURCH ST.
BOSTON, MASS .
EHHXEgHIEE
ART TITLES « 3c
A
WORD
Twenty Smart Styles
Beautiful art borders for
winter scenes, air shots, wed-
dings, baby pictures, tropical
films, scenlcs, ocean voyages
and all other requirements.
Titles furnished on film with
any border desired — 8 words
or less per title for 25c. extra
words 3c each. Minimum or-
der $1.00. Free The End with each order. Write for
illustrated folder showing all styles.
MAIN TITLES
with beautiful basrelief letters on suitable photographic
backgrounds. On fllm, with fade out at end, $2.00 for
4 words or less. Extra words $.25 each. Sample free.
THE ART TITLE
6208 N. LEAVITT ST.
G U I L D E
CHICAGO
mTEHS,
preJucr ttvonlijtt irri NiqH€ffa}> in Ilsy}'
cAsti youp dealer, op crjpite to
GEORGE H.SCHEIBE
PHOTO-FILTER SPECIALIST
50% OFF S
SUBJECTS '
Standard Equipment
Film and Accessories
-DeVry Beaded A AA
n (Reg. $12.50) ^-^T
Size 38 x 30
PATHPY DeLuxe Projector 1 C C(\
TMinC/V (Reg $39) Complete10--'"
PATHEX 9'/2 MM. RAW FILM $1.49
Panchromatic 16 MM. Raw Film. 100', $4.50
EASTMAN Eft° 35.95 ,C,!8S
Bell & Howell Titter, complete, $25.50
QRS— DeVry 16 MM. Outfit COC
with Sound and Case. Reg. $250.00 -POJ
100' TalVing Feature (with disc), $5.49
400' Talking Feature (with disc), $14.49
MogullBros.,1944BostonRd.,N.Y C.
Mall Orders Filled Day of Receipt! Before
You Buy — Always get our lower price!
before his death. If it can be established
that McConnell bought the pistol, the
issue of suicide can be more definitely
decided. The dealer, on viewing the
films, was firmer in his belief that Mc-
Connell was the purchaser than he was
after seeing the body.
Journal of the S. M. P. E
Sketching action from
film is newest art class
method, as shown above
A r t
g Using characters in motion
pictures as models, students
are claimed to receive a better concep-
tion of proportion, rhythm and perspec-
tive than by sketching from static sub-
jects, according to C. Ulp, Mechanics
Institute, Rochester, N. Y. 16mm.
classroom films are now available for
this work and many artists are filming
distant scenes and subjects for later ref-
erence in their work in the studio.
PPPP PI I RvIQh These films, on 16, unless
rl\EErll.lVljB 35mm. is specified, an
loaned free except for payment of postage. Re-
quests should be addressed to the Amateur Cin-
ema League, Inc., 105 W. 40th St., N. Y. C,
and films desired mentioned by titles. Requests,
on receipt, are forwarded to distributors who
get in touch "with applicants and make booking
arrangements. Specific dates cannot be promised
until the applicant hears from the distributor.
Do not send postage with requests; when it is
required, the distributor will notify the appli-
cant. Of course, films should be returned post-
paid. Some films are limited to groups, in which
cases it is so stated in the review. In applying
for films limited to groups, the type and prob-
able size of the audience must be mentioned.
Films are not available outside of the United
States, unless so stated. Any amateur may apply
for films reviewed as this service is not limited
to Amateur Cinema League members.
■ Greatest Airship Dock, one reel,
16mm., reviewed through the Goodyear
Tire & Rubber Company, tells the story
of a remarkable feat of engineering, the
building of the hangar for the ZRS4.
■ Metal of the Ages, three reels, 16
and 35mm., reviewed through courtesy
of the Reading Iron Company, shows
the melting of ore in the blast furnace
and depicts the various stages in the
manufacture of wrought iron pipe. An
introductory sequence showing early
methods of iron making is unusually
interesting. Animation of processes
aids in making them very clear. The
film is available to schools only.
^Making Photographic Lenses, one
reel, 16mm., reviewed through Hugo
Meyer & Co., shows various steps in
the making and testing of lenses and
mounts at the optical works of this com-
pany in Goerlitz, Germany. The film is
available to physics classes and to still
and cine clubs.
^Drinking Health, two reels, 16 and
35mm., of the Harvard series produced
by Films of Commerce, Inc., has for its
purpose the encouragement of the drink-
ing of sufficient water for health and to
warn against dangers of the common
drinking cup. The film is available to
schools and other large groups, and a
teacher's guide may be had upon re-
quest as also may supplementary
printed data for use by the audience.
Amateur clubs
[Continued from page 61]
Club leader ■ A. mystery comedy is
to be the second pro-
duction of the Southern New England
Amateur Cine Club in Pawtucket, R. I.
A special club leader, to be used on all
club productions and on members' pic-
tures, is being prepared.
Oakland ■ Among the attractions of
the last 1931 meeting of
the Greater Oakland Motion Picture
Club were the demonstration of new
projection equipment, the screening of
members' films, among them a medical
subject made by Elton Fox, and a dis-
cussion of the club's current production,
Influence. Fifteen members gathered
for dinner preceding the meeting. Ed
Rosenburg, A.C.L., will edit a column in
the club's news sheet, Camera Action.
Aviation comedy
The enthusi-
a s t i c public
reception of Sky Larks, the first club
production of the Amateur Cinema Club
of Montreal, Canada, has moved the
club to plan a second aviation picture.
The new film is to be a comedy running
three reels, entitled The Flyaway Hus-
band. It will be produced in cooperation
with the Montreal Light Aeroplane Club
and some of the best amateur pilots in
Canada will be included in the cast.
Sound demonstration ■ A re-
cent
program of the Hudson County Cine
Club of Jersey City, N. J., was devoted
to a demonstration of sound projection
equipment by Edmund W. Miller and
Herbert Griffin. This active club now
has a membership of twenty seven.
In Otteveny,
Hungary, Count
Andrew Csaky, A.C.L., has recently
completed a photoplay called Poachers,
Hungarian film
MOVIE MAKERS
77
2,000 ft., 35mm. The story of the film,
synchronized with Hungarian music,
is a simple melodrama of peasant life
on a Hungarian estate. A swineherd
is "framed" as a poacher by the game
keeper, the villain of the piece, who de-
sires the swineherd's girl but the game
keeper is not cunning enough to hide
the fact that he is actually doing the
poaching himself and so is trapped by
the forester. The swineherd, his sweet-
heart and the game keeper were played
by amateur actors but all other roles, as
well as about sixty extra people, were
cast from real life. Count Csaky reports
excellent results with the "drafted" ac-
tors as long as he confined their work
to circumstances that might arise in
their daily lives. In instances difficult
for the actors to handle, cinematic sym-
bolism was used with good effect. The
film includes many beautiful scenic se-
quences, pictures of wild game and se-
quences of peasant life. It has received
considerable publicity in Hungarian pa-
pers and magazines.
Chicago ■ December programs of the
Chicago Cinema Club in-
cluded a demonstration of new movie
making equipment, a screening of Medi-
terranean travel films with a talk on
travel filming by H. A. Brassert and pro-
jection and discussion of members' films.
German contest ■ In the contest
recently held
by Kino-Amateur, an amateur movie
magazine in Germany, for the best mo-
tion picture version of The Adventure, a
scenario written by Andreas Lenard,
A.C.L., Herbert Kipper of Berlin won
first prize and Thedoroe Klemm of Sol-
ingen won second prize. Mr. Lenard's
script was selected as the basis of the
competition in an earlier contest.
Brooklyn Unit ■ Recently o r g a n -
ized, the Crown
Cine Club of Brooklyn, N. Y., has a
membership of forty five. A photoplay
will be produced early in the spring and
preliminary test shots have been made.
Milton Bernstein, A.C.L., is president;
Bernard M. Eisenberg, treasurer; Miss
Frances Leibman, secretary.
Eighty cameramen ■ 0 v e r eighty
members a t -
tended the last meeting in 1931 of the
Cine Club of Portland, Ore. The pro-
gram featured the projection of mem-
bers' films, some 2,500 feet being
screened. Among the offerings was
Finny Lore, a well planned film of Ore-
gon fishing made by Edward J. Schon,
A.C.L. In addition to amateur films, A
Trip Through Film Land was projected.
A door prize of a fifty foot roll of film
went to R. R. Poppelton. The club's
plans for the preparation of a master
scenic film of the state of Oregon by
gathering the material from films al-
ready made by members is progressing.
A committee has been appointed and
members are duplicating suitable mate-
rial for the reel which, when finished,
will come to the League Club Library.
Greenwich Unit ■ Formed over a
year ago, Cru-
sader Pictures, amateur unit in Green-
wich, Conn., has completed The Float-
ing Hat, 800 ft., 16mm., directed by
George E. Fisher, A.C.L. A second
picture, to be directed by George Aiken,
is planned. Officers for 1932 are John
Edwards, president; Tilden Southack,
treasurer; George E. Fisher, secretary.
The Floating Hat is to be presented pub-
licly and gate receipts devoted to unem-
ployment relief.
Another contest ■ In Orange, N. J.,
a movie club, un-
der the presidency of Edward Hayes, is
planning a contest with other New Jer-
sey movie clubs. It is planned to chal-
lenge the Cinema Club of the Oranges
first. The screening of amateur films
and discussions of the first production
have filled the programs of recent meet-
ings. A special Christmas film pro-
gram was given.
Mt. Kisco exhibition ■ 0ver three
hundred at-
tended the public exhibition of movies
and still photographs held by the Cine-
mat Club of Mt. Kisco, N. Y. Among
the 2,300 ft. of films screened were Fire,
a cinematic study of the operations of
the Mt. Kisco fire department, made by
Kenneth V. Bloomer, A.C.L.; The Lake
In The Clouds, made by Miss Elizabeth
Sansom, A.C.L.; A Trip To Florida,
made by Dr. Charles F. Chapman, A.C.
L. To assure that the exhibition would
be representative of both branches of
photographic art, the movie club invited
thirty still photographers who submitted
eighty prints. Many camera clubs have
sponsored amateur movie activities but
this is the first instance of a movie club
sponsoring still exhibitions. The pro-
gram's gate receipts will be used to buy
amateur movie equipment and film.
New plot ■ The amateur movie club
of Grinnell College,
Grinnell, Iowa, has completed the sce-
nario for its second production which
is to be a mystery story based on the
theft of a valuable postage stamp col-
lection. Tell Tale Heart from the
League Club Library was projected at
a recent meeting.
Philadelphia ■ The Portion of the
plot given as an ex-
ample in the A. C. L. bulletin, Making
A Simple Film Story, has been used as
the basis of the current production of
the Northeast Amateur Motion Picture
Club in Philadelphia. Another produc-
tion is now under consideration.
Rushes ■ In Brooklyn, N. Y., Ed-
ward H. Marsh, A.C.L.,
and Robert Coles, A.C.L., are organizing
We have often won-
dered why more am-
ateurs do not title
their films.
It really is exceed-
ingly simple.
Just write out the
copy the way you
want it and mail to
us. Within 48 hours
after your copy is re-
ceived your finished
titles are on the way
back.
Our illustrated
booklet gives a com-
plete, description
with prices.
Kodascope Editing fir
Titling Service, Inc.,
350 Madison Ave.,
New York, N. Y.
CRfHG-
SPLICER
Have your cine dealer demonstrate the
Craig. Watch how easily and quickly he
makes perfect splices. See how the emul-
sion is removed without wetting the film.
Then you will never be satisfied with a
less perfect splicer. Price $15.00.
Craig splicer mounted on laminated board
with two Thalhammer silent rewinders
$25. OO
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro In the East
78
FEBRUARY 1932
A new pocket size
16mm. marvel
SIMPLEX
"POCKETTE"
MOVIE CAMERA
Only
$^r Complete with
»JO //3.5 ANASTICMAT
Here's a real movie camera — a fine preci-
sion tool in every sense of the word, and
made by the world's oldest and largest
manufacturers of big theater projectors.
The Simplex "Pockette" loads with a
ready packed 50 ft. cartridge. No thread-
ing at all. Runs 35 feet with one winding
— stops automatically when set for a pre-
determined length of film exposure — runs
at 16 or 12 frames per second — has direct,
eye level finder, also brilliant waist level
finder. Actual size only l'/i"x6Vz "x4%".
You actually carry it in your pocket. And
think! Only $35.00 complete! Order now!
A New LIGHT $r .00
Special Value
This new reflector takes either the 400T
bulb or the new 64 volt bulb, and gives
equivalent light from either. Takes any T
type bulb up to 500 w. Just the thing for
portraiture or indoor movies. Reflector
and stand sell regularly for $11.50. Our
price — only $5 while the supply lasts. 64
volt bulbs $.40. No. 400T bulbs $2.75.
ASK FOR OUR BARGAIN BOOK
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM-2F
Chicago, III.
25c
READY
MADE
TITLES ^UC EACH
An Amateur's Newsreel
High Spots of 1931
Mother and Dad
Seeing America First
Old World Wanderings
Our City
— and many others. If your dealer can-
not supply you, send for complete list.
BURTON HOLMES LECTURES, Inc.
7510 N. Ashland Avenue Chicago, 111.
a movie club of advanced amateurs.
Those interested may obtain information
about the club from the League. ■ The
Cinema Club of Larchmont, N. Y., is
producing a comedy based on the words
of a popular song. ■ In Binghamton,
N. Y., Kenneth F. Space has formed a
club of amateur cameramen. Officers
will be announced later. ■ The Amateur
Cinema Club of the Oranges, N. J., has
arranged several public screenings of
its films. A special showing was recent-
ly given The National Matches, Camp
Perry to members of competing teams.
■ In San Francisco, Calif., the Silver
Screen Players, producers of The Hero,
have begun work on a second picture.
■ The Road North has been selected as
the title of the current production of
the Candida Cinema Club of Boston.
The story, laid in the north woods with
the background of a fur trading post,
is being filmed this winter in the New
England countryside.
B Another new high school movie club
is the Amateur Cinema Club of the
Rutland, Vermont, High School. Frank-
lin Burditt is president; Elizabeth
Bucklin, vice president; Barbara
Crampton, secretary; Thomas Stafford,
treasurer. The club meets weekly.
■ Cinema Arts Studios of Modesto,
Calif., is planning to film one of Poe's
stories and, in preparation, is screening
various amateur versions of his tales.
■ Judge A. W. Wiggins, secretary
treasurer of the Movie Makers of Jack-
son, Mich., reports that late meetings of
the club have been attended by a repre-
sentative number and that increased
membership is expected this winter.
British Amateurs ■ Although the
British Ama-
teurs section of this department has not
been included this month, it will be re-
sumed next month with detailed reports.
Movie ho, Mexico!
[Continued from page 53]
to the edge. There are signs in Eng-
lish in the better hotels gently warning
the tourists to have their films devel-
oped while in Mexico.
Now, what about the light and the
exposure in this subtropical land?
While the light appears to be much
stronger to the eye, experience has
shown that one half a stop faster is all
that can rightfully be claimed in gen-
eral shooting. In extreme distance
shots, as over mountain valleys to the
next range, one may stop down an en-
tire stop as compared to one's judg-
ment around Forty North.
During the week, you will have wisely
reserved seats for the Sunday bullfight,
seats away down front, first row in la
sombra (the shady side), if possible.
DEVRY
200 WATT PROJECTOR
Type "G" complete with case
Formerly sold for $105.00
Special sales price,
$39.50
UFAGRAMS
100 ft. 16mm. films dealing with
science, travel, education, adventure,
$6.00
per 100 ft.
New releases each month.
Write us for catalog
W. W. KIMBALL CO.
Established 1857
31 East Jackson Blvd. Chicago
UNIVERSAL MODEL X
Startlingly J
Netv *
2-BUTTON $4 AOO
MICROPHONE iU
Advanced 1932 superiority at to-
day's rock-bottom prices. Same
high standards, same exclusive
features. Pure gold con-
tacts. Duralumin dia-
phragm. Is exceptionally
rugged. Model X sets
a new high standard
for quality, at a price
that defies competi-
tion. . , . For sale by
dealers everywhere. .
New Catalogue
with diagrams now
ready.
UNIVERSAL
MICROPHONE CO LTD.
1163 Hyde Park Blvd.
Inglewood, Calif., U.S. A
TITLE YOUR FILMS
16 mm. titles from type forms set by hand
Send 4c in stamps for sample and price card
J. C. HASLE&SONS
Motion Picture Dept.
215 WALNUT ST. CINCINNATI, 0.
16MM.
35MM.
SPECIALIZING
in the
design and construction of cam-
eras, projectors and printers built
to individual specifications.
Cameras altered, rebuilt or repaired.
Estimates furnished on all
cinematic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
SOUND
112 East 73d St.
New York City
RH 4-4950
COLOR
$10 SPECIAL SALE $10
Complete 400 foot Reels
Slightly used but in perfect condition.
Comedies . . Educationals . . Travel
Cartoons
Complete Exchange Library
Send for list.
Manhattan Film Rental Library
5115 18th Ave. Brooklyn, N. Y.
"On the Waves at Waikiki"
A I50 ft., 16 mm., subject featuring Night-
hawk, canine king of surfboard riders.
Price (150 ft.) $9.75
GUY D. HASELT0N
Christie Hotel Bldg.
Hollywood, Calif.
MOVIE MAKERS
79
GOERZ
CINE
LENSES
CINECOR
//1.5 f/2
SUPERSPEED
Highly corrected lenses, Cine-
gors are unexcelled for cinema-
tography under conditions of ad-
verse light. Used in conjunction
with supersensitive film, they are
ideally adapted for the most
difficult kind of indoor work.
They are also recommended for
all processes for the production
of pictures in natural colors.
Catalog MM2, describing
the complete line of
Goerz lenses and acces-
sories, will be sent on ap-
plication.
I
CP.GOERZ AMERICAN OPTICALCp
317 EAST 34™ ST. NEW YORK CITY
SWAI^
YOUR ♦
LIBRARY FILMS
Fair exchange is no robbery. Send your
old film, plus $1.50 and return postage,
for one of the many interesting sub-
jects available at Navilio's.
NAVILIO FILM RENTAL LIBRARY
To Members
5 to 9 reel feature $1.50 a day
Send for membership blank
Dealers: Write for interesting offer
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N.Y.
MOTOGRAPH
POCKET
MOVI ES
From YOUR FILM
Vivid, interesting, a true movie.
Operated like flipping pages of a
book. Send direct or through
dealer your pet 4 ft. of 16mm film
and receive two leather-bound Ho-
lographs for $7.50. Guaranteed.
PHELPSFILMS, INC.
New Haven, Conn.
100% 16mm.TALKIE FOR RENTAL
with JEAN HARLOW
REELS, at $1.75 per reel & disc. One night.
(No charge for transportation time.)
Send lor list oj others for sale and rent.
JONES HARDWARE CO.
Movie Department,
Shamokin, Pa.
The afternoon sun is deep in the west
by the time you need it. Therefore,
"portraits in the shade or very near
dark objects" govern the occasion with
a quarter stop on the plus side for good
measure. Later in the afternoon you'll
thank goodness for the // 1.5 or 1.9 lens,
and don't try to guess the distance.
Xochimilco should be visited any
day but Sunday; at that time it is too
crowded. Tell the driver to take you
where one rents the boat that is poled
along and later ask the boatman to
drop you at the group of restaurants.
By all means have color with you for
the flora is indescribable. Then go
where you can set up the tripod, stop
down for detail and shoot some half
speed stuff for future reference. Include
the mountains, too, in establishing shots.
It costs nothing extra. Save a little foot-
age for your barge going under a
bridge ; it will remind you of Venice.
And then you must visit Amecameca
where the majesty of the great old vol-
canoes, now snow covered and silent,
dawns upon you. Climb the holy hill
and, from the quiet little church yard,
woo old "Popo" and "Ixta" with your
six inch lens. Don't panoram, we are
told, but here you just can't help it.
From the head of the Sleeping Lady to
the cone of "Popo" is such a wee dis-
tance (about two and one half miles)
that you needs must panoram just a
bit to show the folks at home the juxta-
position of the two sky scraping peaks
and to record where, at the lowest part,
Cortez and his band of merry men came
across to visit the Aztecs. If you hap-
pen to be in Amecameca on a fiesta,
you'll run out of film before day is done.
Do not carry it all with you for you'll
need some at Cuernavaca and at Puebla.
While it is advisable to have all pos-
sible cine film developed in Mexico City
— and thus have time to remedy rather
than regret any failures in judgment —
during the last forty eight hours of the
stay it is a different story. A film that
is processed there and then forwarded
to you means an international complica-
tion that is better avoided. In other
words, the customs officers of the United
States are not all cine fans, as yet.
News of the industry
[Continued from page 64]
one dealer in each community, or more
than one in metropolitan centers, can
secure them for distribution through the
parent library. The present releases in-
clude five one reel comedies, five two
reel comedies and two novelties.
"Cine-Kodak News" ■ Offering
articles
and illustrations adapted to seasonal
filming, this very attractive Eastman
journal can be obtained by readers of
Movie Makers on request to the East-
man Kodak Company, Rochester, N. Y.
IDEAL FOR CRAMPED
INTERIORS AND CONDI-
TIONS of ADVERSE LIGHT
PLflSIIlflT
//1.5 15mm. FOCUS
WIDE ANGLE LENS
During this INDOOR season, the
movie maker will discover, in the
combination of supersensitive film
and the f/1.5 aperture of the Kino
Plasmat Wide Angle Lens, a new
and entrancing field for his labors.
With an ordinary bridge or table
lamp for illumination, he will get
the most interesting closeups of the
family at home with this fastest of
wide angle lenses . . . OUT-
DOORS, it is a necessity at re-
gattas and races, at ball games and
polo and for all sports where the
action is close at hand, extended
and fast.
THIS LENS COMES IN A MICROM-
ETER FOCUSING MOUNT FOR
VICTOR, FILMO AND CINE-ANSCO
CAMERAS.
IT IS NOT NECESSARY TO RE-
MOVE LENS FROM TURRET
CAMERAS WHEN REVOLVING
LATTER.
Price $60
Send for new brochure
Hugo Meyer & Co.
245 West 55th St.
New York
Works: Goerlitz, Germany
80
FEBRUARY 1932
BROOKS PRODUCTS
for MOVIE MAKERS
SCHNEIDER CINE LENSES
54 to 4" focus. Unsurpassed
definition. §37.50 and up.
NEW SCHNEIDER XENON
//1.3
Superspeed lens for all 16mm.
cameras. 12 times faster than
//4.5. Unsurpassed for ad-
verse light. Excellently cor-
rected. $75.
TRIAX TRIPODS
and tilting: and panoram top
. . . light, compact, strong,
rigid. $6.00 and up.
RAMSTEIN-OPTOCHROME
Optical glass filters. No gela-
tine used. Graduated and
plain. $3.00 and up.
SCHEIBE EFFECT FILTERS
As used by professionals for
the many and varied effects as
seen in the theatres. $3.00 and
BADGLEY FILTER
HOLDER
Fitting all lenses IW and
smaller. Grips firmly, ad-
justs to any position. $2.85.
AUTOMATIC DISSOLVE
for "fadein," "fadeout" and
double exposure work. Pro-
fessional results obtained with
ease by any amateur. $27.50.
BROOKS FOCUSING
PRISM
Ground glass focusing prism
— an absolutely certain meth-
od of focusing cine lenses in
place on the camera. $6.00.
PRACTOS EXPOSURE
METER
Combination cine and still
gauge . . . compact, simple.
With case, $5.75.
CINE-NIZO 16 D3 CAMERA
Available with turret head.
Small, efficient, light, real
value. $125 and up.
Write for literature on the
above; also oft our miniature
focal -plane and reflex cameras.
BUPLEIGH BPGDKS
AGENT USA
1 27 W. 42nd St. New York
Simplex Film Gleaner
Model C Price $8.00
KALEIDO CAPERS
100 ft. 16mm. film showing the effect of a
camera turned loose with a Kaleidoscope.
Price, $6.00.
WESTWARD BOUND
A condensed volume of the highlights of
western scenery. 100 ft. 16mm. Price, $6.00.
Fade-in, Fade-out with the
SIMPLEX FADING GLASS
Price, $2.00
Produced by
ERNEST M. REYNOLDS
165 E. 191st Street, Cleveland, Ohio
"FillTIO Topics" ■ Active amateurs
interested in fol-
lowing every helpful agency devoted to
the craft should write the Bell & Howell
Company, 1801 Larchmont Avenue,
Chicago, 111., for a sample copy of
Filmo Topics, an excellent house organ
devoted to personal filming.
New dealer ■ Movie makers in the
vicinity of New Ro-
chelle, New York, will now have an
opportunity to be served in the amateur
field by a new firm. This establishment,
at 219 Huguenot Street, New Rochelle,
will be known as the Artists Photo Ser-
vice and will be in charge of Carl Louis
Gregory and Leslie Zauner. Mr. Greg-
ory bears a name long known and re-
spected in the motion picture field; he
has complete facilities for all kinds of
specialized motion picture work, in-
cluding the use of the special printing
machine described in Movie Makers
some time ago. Mr. Zauner's wide ex-
perience in art and portrait photo work
will also be available.
3Ji
■
d
§jp
*mss
8
T
W
.
•
■■ .
. ' ],y t. ./••>'
Educational Film Exchanges, Inc.
A glimpse of the great
outdoors from new Home
Film Libraries series
Camera Classes ■ Evening classes
in the fundamen-
tals of photography are announced by
the Clarence H. White School of Pho-
tography, 460 West 144th Street, New
York City, covering a period of sixteen
weeks beginning in January, 1932.
B. Cr H. SOUnd list ■ A comprehen-
sive catalog of
16mm. sound pictures available through
the Filmo Library has recently been
issued by the Bell & Howell Company of
Chicago. The subjects listed are said to
cover a wide range, many being strictly
for entertainment while others cover the
educational and informative fields. Such
a large list, exclusively composed of
sound pictures, would appear to demon-
strate that the use of the 16mm. talkie
is being definitely increased. A copy of
the catalog, which lists only sound on
disk, is available to any reader of Movie
Makers who sends eight cents in stamps
for postage charges. Requests should
be addressed to the Library Division. !
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
NEW 16mm. FILMS
Length approximately 100 feet
Price each, $3.95 Postpaid
BEAR HUNTING IN THE ROCKIES
SCENIC GRANDEUR OF THE YELLOWSTONE
SCENIC GRANDEUR OF THE YOSEMITE
THE FIRST FLYING MACHINE
JUNGLE OF PREHISTORIC ANIMALS
YELLOWSTONE'S THUNDERING HERD
WILD LIFE IN YELLOWSTONE PARK
SCENIC GRANDEUR OF GLACIER PARK
GEYSERS AND HOT SPRINGS (Yellowstone)
THE PILATUS RAILWAY (Switzerland)
JACK AND THE BEAN STALK (400 feet)
PRICE $16.00 POSTPAID
Descriptive list free on request.
EASTIN FEATURE FILMS
GALESBURG — ILLINOIS
M0 PICTURE
IS COMPLETE
WITHOUT
lrofessional LookmgT^^^^^^^ E
16mm. "Printed Titles. PS- O £><£,
SEND FOR CATALOGUE AND SAMPLES dig %J *
^Western ConemiaTotle Co.
%ff) P.O. Box. 793. eWlo. Vis+a, Galiforma.
THE
[AUSTRALIA!
'SYDNEY
Atmosphere
and resources
that are rightfully
world-famous — soci-
ally and geographically
the centre of Sydney.
The Australia Hotel, Sydney, N.S.W.
r~
Pep
~\
for your program
$A 50
>4.
SPORTS
SCENICS
COMEDIES
EDUCATIONAL^
Put new humor, new
thrills, new interest
into your programs I
Here is an opportuni-
ty to pep up your
film library at an ex-
ceptionally reasonable
price.
Send for our catalog
EMPIRE SAFETY FILM
COMPANY
723 Seventh Ave. New York J
©
TITLES
» Pi-1 Complete editing and titling
I yesterday' service. (16 mm. or stand-
/Qji ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendale 0011
DETROIT, MICH.
You Need
A MOVIE MAKERS BINDER
Only $1.50
Binder Dept., MOVIE MAKERS
105 W. 40th St. New York City
MOVIE MAKERS
81
500 mm. tele ■ Niezoidi &
Kramer an-
nounces from Munich the adaptation of
a "fernbild," or "distance" lens made
in the truly remarkable equivalent focal
length of 500mm. This lens may be
adapted to their 16mm. Cine-Nizo mod-
els D and D 3. Of unusual speed, the
objective suggests unheard of possibili-
ties in scientific or difficult filming.
World's biggest 16mm.
telephoto is product
of Niezoidi & Kramer
Reynolds cleaner ■ Model c of the
Simplex Film
Cleaner, offering three different meth-
ods of film renovation in one, is an-
nounced by Ernest M. Reynolds, 165
East 191st Street, Cleveland, Ohio. It is
claimed that the new model is adaptable
to any size of reel and to any rewind. A
particularly interesting feature is a new
type of circular polishing disc which
cleans the film with a wiping motion
and carries off extraneous material.
Arc with superspeed ■ Home
cinema-
tographers interested in the definite ef-
fectiveness of the "panchromatic" arc
with superspeed emulsions may write
for the interesting leaflet on the subject
prepared by the National Carbon Com-
pany, Carbon Sales Division, Cleveland,
Ohio. Color charts and much interest-
ing photographic material is set forth.
S.M.P.E. demonstrates ■ At a
recent
meeting of the Society of Motion Picture
Engineers held in New York City, H. A.
Frederick of the Bell Telephone Lab-
oratories demonstrated a series of disk
records made by a new process for ex-
ceptional volume and faithfulness of
reproduction of voice and music. The
new records are cut by the "hill and
dale" process, wherein the vibrations
are registered in the grooves vertically
instead of horizontally, as is usually the
case. In conjunction with a new type of
electrical pickup of much lighter weight
than usual, reproduction through a spe-
cially designed amplifier resulted in
greatly improved volume and quality.
No data is as yet available concerning
the commercial release of the new
sound system.
Cinemas for caravanserais
[Continued from page 54]
this true of those business clubs such
as the Rotary, Kiwanis or Lions of
which each new member is expected to
tell of his business activities, an increas-
Hamilton W. Wright
The cine room makes debut
at the Greenbriar Hotel,
White Springs, West Va.
Eric M. Berndt, New York
engineer, with one type of
cine apparatus he builds
Bell & Howell
Luncheon club use of 16mm.
facilities is exampled by
Lions Club in Chicago hotel
ing number of such reports now being
made by means of personally produced
films. Too, entertainment films are often
shown at these luncheons and the avail-
ability of projection equipment would
constitute another service that would
undeniably appeal to those making up
this important source of hotel revenue.
Salesmen would likewise find 16mm.
projection facilities of assistance in
demonstrating their products. In fact,
the potentialities for greater service
which installation of 16mm. in the hotel
makes possible are increasingly appeal-
ing to progressive hotel management.
NOW take
Beautiful Pic-
tures in your
own HOME.
Every quality
you have wanted
in your indoor
movies Plus un-
restricted action
is now possible
when you illum-
inate with
FOTOLITES
Range in price from $1.25
to $16.00 (without bulbs.)
For with Fotolites (exclusive chem-
ical finish) you can take sparkling
— clear pictures right in your home
even on dark days and at night. Most
light with lowest equipment cost.
THE STANRITE TRIPOD
AND PANRITE
Professionals and
serious amateurs
find the new
STANRITE
TRIPOD and the
PANRITE
TILT ING
TOP an
ideal combi-
nation. As-
sure steady
running pic-
tures at any
angle. Fit
any camera.
Light weight.
Beautiful
construction
(mahogany
and chromi-
um.)
Stanrite Tripod, $12.00
Panrite Tilting Top
$9.00
Lockrite attachment
for above, $3.00
NEW
10 REEL
Film
Carrying Case
This Beauti-
ful case is
equip ped
with a spe-
cially designed removable moistener
which permits moistening without
danger of damaging films.
10 Reel, $6.50 20 Reel, $9.00.
TESTRITE INSTRUMENT CO.
57 E. 11th Street, N. Y. C.
Without obligation send free par-
tic lars.
To
A ddress
82
FEBRUARY 1932
EQUIPMENT FOR SALE
| READY and waiting . . . Bass Bargaingram
No. 20S. Nineteen pages crammed full of bar-
gains. Save money. A few offers from this
money saving list: new DeVry Model G pro-
jectors with cases at $45.00; new Risdon 16mm.
cameras, 3.5 lens at §22.50; Bell & Howell Filmo
70A with case and Cooke lens, £77.50; Victor
Model 3, regular and slow motion, with lens,
$65.00. Write or wire for your copy at once.
BASS CAMERA COMPANY, 179 W. Madison
St., Chicago, 111.
■ SUBJECT to prior sale, we are offering eleven
two reel "Spice of the Program Comedies" at
$7.50 per reel. These films have been used in our
Library but are in good condition. We are also
offering the following feature films at $5.00 per
reel: WALKING BACK, starring Sue Carrol. 5
reels; PRETTY CLOTHES, featuring Jobyna
Ralston and Johnny Walker, 6 reels; THE
CHARLATAN, featuring Holmes Herbert, 7
reels. Model B Kodascope, list price, $275.00,
sale price, $150.00. DeVry Model G Projector,
sale price, $35.00. Kodatoy, sale price, $9.00.
Model B Cine-Kodak, gray, fitted with //1.9 and
78mm. Telephoto and carrying case, list price,
$220.00, sale price, $135.00. 1 Model 75 Filmo
Camera, sale price, $50.00. 1 6" Goerz Lens for
Filmo Camera, list price, $75.00, sale price,
$25.00. 1 Filmo Camera 16/32 Speed, sale price,
$95.00. 1 Filmo Cabinet, list price, $108.00, sale
price, $35.00. 1 Cine-Kodak Outfit M 3.5 with
Model G DeVry Projector (new), sale price,
$100.00. 1 2" //1.5 Hugo Meyer Lens for Filmo
Camera, list price, $90.00, sale price, $45.00.
1 3 54" Cooke Telephoto for Filmo, list price,
$85.00, sale price, $45.00. 1 Long Focus Lens
for Model BB, f/1.9 Cine Kodak (new), list
price $45.00, sale price, $25.00. 1 Model 57 G
Filmo Projector (used) with 250 Watt Lamp,
variable resistance and oval base, sale price,
$100.00. 1 Model C Kodascope with case, (used),
bronze, sale price, $35.00. 1 Model B Ampro
Projector (used), sale price, $135.00. 1 Model C
Kodascope, black, with case, sale price, $25.00
BARGAINS IN SCREENS: Arrow, 30x40, sale-
price, $3.50. Special Beaded, 20x30, sale price,
$2.00. No. 0 Kodascope, 26x32, list price, $8.00,
sale price, $3.00. Kodacarte Combination Table
and Screen, list price, $30.00, sale price, $15.00.
Bub North Screen, 30x40, sale price, $15.00.
Bub North Screen, 12x18, sale nricc $5.00.
STARKWEATHER & WILLIAMS, INC., 47
Exchange Place, Providence, R. I.
■ COMPLETE PRINTING OUTFITS for
movie titles, presses, type, ink, paper, supplies.
Write for catalog. KELSEY CO., D-50 Meri-
den, Conn.
■ ONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatoy for 400 ft.
reels. Sent direct only. A. C. HAYDEN CO.,
Brockton, Mass.
■ 1 FLMO Used 70-A camera, $85.00; 2 Filmo
Used 70-A cameras, each, $90.00 (almost new);
1 Kodascope "B" projector, Kodacolor equipped,
200 watt and case (slightly used), $130.00.
W. W. KIMBALL CO., Est. 1857, 31 E. Jack-
son Blvd., Chicago.
| NEW 16mm. continuous projector, fully
equipped, for home and commercial work; cost,
$325.00; $150.00 cash. J. M. HERN1C, 12 E.
37th St., New York City.
B 16 MM. movie cameras and projectors for the
home, school, church and business organization.
Literature free. D. F. ELDER & COMPANY,
Dept. 14, Chelsea, Massachusetts.
■ COMPLETE sets Eastman tank developing,
fixing, hardening chemicals to mix gallon quan-
tity, postpaid, $1.50. HUNTER, 921 Edgewood,
Elizabeth, N. J.
B SIXTY dollars allowance for your model C
Kodascope toward a brand new Eastman Model
K projector. Dealers in Eastman, Bell & Howell,
Victor, Simplex, Agfa, Pathex, Zeiss, and other
high grade equipment. NATIONAL CAMERA
EXCHANGE, 5 So. 5th St., Minneapolis, Minn.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOD CINEMA STUDIOS, 1608 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
B TIREX S 2 cond. portable rubber cable, odd
lenghths up to 150 feet. No. 10, 15c; No. 14,
10c per foot. CHAS. R. LUDER MFG. CO.,
Washington, Ind.
■ HOME TALKIE UNIT, $15.00. 100 ft. pan-
chromatic reversible film, $4.50 — supersensitive,
$6.00. 16mm. films, Chaplin, Mix, Fairbanks,
$.75 each. Free lists. HOME MOVIE SERVICE,
Box 32, Easton, Pa.
■ FOR SALE— Filmo 70 Camera, Cooke lens,
fine condition, $85. Bell & Howell projector,
$125. Will trade 1A Graflex Bausch-Lomb lens
for cine equipment. Want travel Cinegraphs.
ROI.LO EVERY, 22 S. Hollywood, Daytona
Beach. Fla.
Classified advertising
| All classified advertising copy will be care-
fully scrutinized but Movie Makers cannot be
held responsible for errors or statements made by
classified advertisers. Box numbers are -provided
by Movie Makers as a convenience to readers
and classified advertisers alike. Mail received
for these box numbers is forwarded by Movie
Makers unopened to the advertisers concerned.
Remittances, if any, to cover goods offered for
sale in this department should be made to the
advertiser and not to Movie Makers.
For
THE THRIFTY ONLY!
Binders for 1932 MOVIE MAKERS
are now ready for you. Send us
your check right now for $1.50
($.30 additional for Canadian and
foreign postage), and have your
binder a few days later.
Binder Department
MOVIE MAKERS
105 VV. 40th St., New York, N. Y.
1931 Back Issues of
Movie Makers
Available for Binders
Complete YOUR file of 1931 num-
bers while the reserve lasts.
The supply of the January, 1931
issue is already exhausted.
But in the 1931 numbers still on
hand, there appear such articles
as:
Building plots to fit the shots
Tricks to try
Filter why's and how's
Music for silent films
"Pan" speeds ahead
Perfecting projecting
Sport reels that win
Light for less
35c each in U. S. and abroad
40c each in Dominion of Canada
Circulation Department
MOVIE MAKERS
105 W. 40th St., New York, N. Y.
■ "THE TEXON" — A dependable 16mm. prin-
ter built by experts — 15 light changes; 200 foot
capacity; visible printing aperture, magnified;
negative and positive loop feed with take ups.
Price, $196-00. We allow $60.00 credit for one
model A Kodascope on each printer purchased;
mechanism and motor must be in first class con-
tion. LEE FILM COMPANY, 716 East Elmira
Street, San Antonio, Texas. Cine equipment, films
and titles.
■ FILMO 70A camera, 1" //3.5 Cooke, equal
new, $85.00. Cine Ansco camera, //3.5 lens',
$45.00. Ica Kinamo S-10, //2.7 Zeiss lens and
case, $40.00. Ensign Auto-Kinecam with 1"
//2.6 Cinar and case, $55.00. Filmo projector,
200 watt variable resistance and ammeter, $120.
Kodascope C projector, old model, $20.00.
Kodascope B projector, late model, $100.00.
Q.R.S. model B projector and case, $10.00.
1" /"1.5 Meyer Plasmat lens, $35.00. V'f/2.7
Carl Zeiss Tessar lens, $25.00. 2" //1.5 Cine
Velostigmat lens, $15.00. 3U" //3.3 Wollensak
Telephoto lens, $32.50. 6" //4.5 Wollensak Tele-
photo lens, $40.00. Dremophot exposure meter.
$2.50. Dist meter for measuring distance, $4.50.
B & H Photometer and case, $12.00. Craig
splicer and rewinder on board, $15.00. WIL-
LOUGHBYS, 110 W. 32nd St., New York City.
■ EVERYTHING for the amateur photoplay
producer. Costumes, settings, properties, makeup,
studio equipment. Send for bargain lists. State
wants. J. G. BOLGER, 30 Dyatt Place, Hack-
ensack, N. J.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
EQUIPMENT WANTED
■ WANTED— 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
■ WANTED— Model B B Cine-Kodak without
lens, but suitable for 1.9 lens. State price and
condition. Address R. D. BOX 513, Glenshaw,
Pa.
FILMS WANTED
| WILL buy 16mm. subjects. Advise what you
have. State length, title, producer and condition.
H. STEWART, 120 Fitzrandolph Ave., Trenton,
N. J.
■ WILL BUY or exchange used 16 mm. sub-
jects at nominal rates. Drop me a line and'
mention what you have to offer. S. B. HOBBS,
190 Goden St., Belmont, Mass.
FILMS FOR RENTAL OR SALE
| CRISTUS, the best motion picture version of
the life of Christ. In seven parts, $200.00.
Other films. Direct or through your dealer.
ARC FILM CO., 630 9th Ave. New York City.
■ PIXY PICTURES, 16mm. short subjects (25
feet) complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
■ FOR SALE. New and used 16mm. sound
films. Send for list. PITMAN HOMOVIE
SERVICE, 45 Summit Ave., Salem, Mass.
■ THE YORKTOWN PAGEANT. 400' of
carefully edited and titled 16mm. film, depict-
ing this historical celebration in all its immensity.
Price, $25.00, complete with reel and can.
Should be in every movie makers' library. G. L.
HALL OPTICAL CO., 257 Granby St., Norfolk,
Va.
■ AT REDUCED PRICE. New 16mm. films.
Felix and other cartoons, etc. These are brand
new reels at $3.75 per hundred feet. Send for
list. WM. L. LEHLE, 514 Park Avenue, Wil-
mette, 111.
■ YOUR MOVIE PARTIES. Rent films by mail,
$1.25 reel per week. No deposits. Descriptive
catalog free. Bank reference. HARRY GOOD-
WIN, 325 North Park, Tucson, Arizona.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE.
EXCHANGE PRICES
400' reel $1.00
200' " .50
100' " .25
On the 100' and 200' reels add return postage.
EVERY REEL SENT OUT CARRIES A
GUARANTEE OF 100% SATISFACTION.
QUALITY HAS NO SUBSTITUTE
CINE CLASSIC LIBRARY,
1041 Jefferson Ave.,
Brooklyn, N. Y.
■ 1032 LIST of films for sale and exchange_ and
new plan now ready. Send for it. H. B. KAY,
145 Jerome Street, Brooklyn, N. Y.
TRADING OFFERS
■ WILL make titles in exchange for used 16 mm.
professionally made films. Request trade offer.
State subjects. NOVEL CINE TITLES, 647
Franklyn Ave., Council Bluffs, Iowa.
MISCELLANEOUS
■ SEE your films in beautiful, natural colors.
No special equipment necessary. Sample 10c. J.
G. BOLGER, 30 Dyatt Place, Hackensack, N. J.
■ 16 mm. KEYSTONE CAMERA, $12.50.
Camera taken back at list any time on better
model. 100' pictures, $3.65. Titles, air-brushed
backgrounds. Supersensitive negative, $6.00. Pro-
iectors, screens, splicers, tripods. Catalogues.
LORENZ FILM PRODUCTIONS, Madison, In-
diana.
■ ANIMATED TITLES put spice into your
productions. We are prepared to furnish trick
opening titles. Prices reasonable. For informa-
tion write A. G. MERRIMAN, 11004 Ashbury
Ave., Cleveland, Ohio.
MOVIE MAKERS
83
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Garry This Magazine — VISIT THEM !
UNITED STATES
ARIZONA
Phoenix: Studio of Sound, 812 E. Washington St.
Tucson: T. Ed. Litt, Cor. Congress & Stone.
ARKANSAS
Texarkana: H. V. Beasley Co., 200 E. Broad St.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. P'. Hink & Son, Shattuck & Kittredge.
Fresno: Potter Drug Co., 1112 Fulton Ave.
Shaver Lake Photo Shop, 910 Arthur Ave.
Glendale: Cine-Electric & Optical Studio, 163 S.
Central Ave.
Kug-Art Photo Service, 507 W. Colorado
Blvd.
Mowry's Photo Service, 223 S. Brand Blvd.
Hollywood: Bell & Howell Co., 716 X. LaBrea
Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
Hollywood Film Enterprises, Inc., 6058 Sun-
set Blvd.
Strasburg's of Hollywood, 6730 Hollywood
Blvd.
Long Beach: Wier's Photo Shop, 142 Pine
Ave.
Winstead Bros. Inc., 244 Pine Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 129 W. Sec-
ond St., American Bank Bldg.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
Schwabacher-Frey Stationery Co., 734 S.
Broadway.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Wylie Wells Kelley Film Lab., 829 Harrison
St.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
F. W. Reed Co., 176 E. Colorado St.
Riverside: F. W. Twogood, 700 Main St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop. 1033 Sixth St.
Eastman Kodak Stores. Inc.. 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co.. 228 Post St.
Westwood Cinema Studios, 1608 Ocean Ave.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Pedro: Sunset Photo Supply, Inc., 319 W.
6th St.
San Rafael: Webb & Rogers. 4th and B. Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: J. W. Collinge, 1127 State St.
Tri Counties Electric Supply Co., 27 Parker
Way.
Santa Monica: P.ertholf Photo Finishng, 1456
Third St.
Stockton : Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co.. 40 S. California St.
Ventura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop. 404 Sixteenth St.
Kendrick-Bellamy Co., 16th St. at Stout.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Greenwich: Gayle A. Foster, 9 Perryridge Rd.
Hartford: Harrison Harries. 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
Naugatuck: Leary's Drug Store, 217 Church St.
New Haven: Fritz & Hawley, Inc., 816 Chapel
St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co., 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller's & d'AIbert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
Miami: Miami Photo Supply Co., 12 N. E. First
Ave.
Tropical Camera Stores, Inc., 123 Second St.,
N. E.
Miami Beach: Cox Studios, Roney Plaza Hotel.
J. R. Willis. 737 Lincoln Road.
Palm Beach: Robison's Camera Shop, 206 Royal
Palm Way.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
ILLINOIS
Chicago: BASS CAMERA CO., INC., 179 W.
Madison St.
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co.. 78 E. Jackson Blvd.
18 So. La Salle St.
1645 Orrington Ave.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair. The. Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
W. W. KIMBALL CO., Motion Picture Dept.,
31 E. Jackson Blvd.
Lyon & Healy, Inc., Jackson Blvd. & Wabash
Ave.
Norman-Willets Co., 318 Washington St.
Post Office News Co., 37 W. Monroe St.
Royal Radio Co., Cine Dept., 661 N. Michi-
gan Ave.
Seamans. Photo Finisher, 1953 E. ' 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Von Lengerke & Antoine, 33 S. Wabash Ave.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermillion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Galesburg: Illinois Camera Shop. 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort- Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd and Jefferson
St.
Carroll: Rexall Store, 120 W. 5th St.
Cedar Rapids: Camera Shop. 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing, Inc., 419 Pierce St.
Waterloo: Macks Photo Shop, 225 W. Fifth St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
MARYLAND
Baltimore: Eastmann Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp-Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: James W. Brine Co., 92 Summer St.
Charles H. Chase, 44 Bromfield St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Brockton: Iris Pharmacy. 230 Park Blvd.
Raymond C. Lake, 218 Main St.
Lowell: Donaldson's, 75 Merrimack St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Homovie Service, 45 Summit
Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: T. E. Chenev & Staff, Inc., 301
Bridge St.
Harvev & Lewis Co.. 1503 Main St.
C. Rogers & Co., 1245 Main St.
Tewksbury: Mark J. McCann, 23 North St.
Worcester: T. C. Freeman & Co.. 376 Main St.
L. B. Wheaton. 368 Main St.
(Continued- on fage 84)
84
FEBRUARY 1932
(Continued from fage 83)
MICHIGAN
Bay City: Bay City Hdw. Co., Sporting Goods
Dept., 1009-15 Saginaw St.
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
J. L. Hudson Co., Dept. 290.
Metropolitan Motion Picture Co., 2310 Cass
Ave.
E. B. Meyrowitz, Inc., 1516 Washington Blvd.
Flint: Gardner Photo Service. 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Jackson Ave.,
W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Vans Cine Service, 600 Prudden Bldg.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth : Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Co-operative Photo Supply Co., 381-3
Minnesota St.
Eastman Kodak Stores Co., Kodak Bldg., 91
E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co.. 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Hanley Photo & Radio Shop, 116 E. 10th St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O.
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artist's Photo Service, 19 Fourth St.
Maplewood: John H. Osmun, 174 Maplewood
Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Passaic: Rutblatt's Sport Shop, 38 Lexington
Ave.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfield: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
Vineland: Robbins Photo Service, Inc., 615
Landis Ave.
West Englewood: C. M. Vanderbilt, Inc., 374
Briarcliffa Rd.
West New York: Rembrandt Studio, 462 Ber-
genlina Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadw«,.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Corning: Ecker Drug Store, 47 E. Market St.
at Cedar.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Home Movies, 30 Dvision Street.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 173 E. 60th St.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
ABE COHEN'S CAMERA EXCHANGE, 120
Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
FILM FEATURETTES, INC., 130 W. 46th St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Gloeckner & Newby Co., 9 Church St.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician, Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
Luma Camera Service, Inc., 302 W. 34th St.
Marcus Photo Service, 1170 St. Nicholas Ave.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 122 Cedar St.
E. B. Mevrowitz. Inc., 520 Fifth Ave.
MOGULL BROS., 1944 Boston Rd.
New York Camera Exchange, 109 Fulton St.
Y. Nomi, 174 W. 95th St.
Parker and Battersby, 146 W. 42nd St.
Pickup & Brown, 368 Lexington Ave.
Rab Sons. 1373 Sixth Ave.
G. Tankus. 837 Seventh Ave.
WILLOUGHBYS, 110 W. 32nd St.
Pelham: Kolf & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley, Lindsay & Curr Co., Camera Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Alex. Grants Sons, 119 E. Washington
St.
Francis Hendricks Co., Inc., 339 S. Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Yonkers W. J. Dolega, 242 Nepperhan Ave.
Joseph F. Blatzheim, 4-6 Riverdale Ave.
NORTH CAROLINA
Charlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 Tryon St.
OHIO
Akron : Pockrandt Photo Supply Co., 16 N.
Howard.
Canton: Roth & Hug Co., 539 N. Market Ave.
Ralph W. Young, 139 Cleveland Ave., S. W.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416^ Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Public Square.
Home Movies Co., 1501-7 Superior Ave.
Lyon & Healy, Inc., 1226 Huron Rd. at
Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply, 62 E. Gay St.
Don McAlister, 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams, 2028 E. Third St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: F. E. Fowler, 824 Gallia St.
Steuben ville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Eugene: Carl Baker Film Shop, 698 Willa-
mette St.
Stevenson's, Inc., 764 Willamette St.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lancaster: Darmstaetter's, 59 N. Queen St.
Lebanon: Harpel's, 757 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Home Movie Studio, 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
MacCallum, Inc., 132 S. 15th St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Root's Kamera Exchange, 312 Diamond St.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: JONES HARDWARE, Sporting
Goods Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Newport: Rugen Typewriter & Kodak Shop,
295-7 Thames St.
Pawtucket: Thomas N. Simpson, Broadway and
Exchange St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Woonsocket: Joseph Brown Co., 188 Main St.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Jackson: Southern Pictures Corp.
Knoxvilae: Jim Thompson Co., The "Snap
Shop," 415 W. Church Ave.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Crosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co., 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Chas. G. Lord Optical Co., 704
Main.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
Shiplers, 144 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
MOVIE MAKERS
85
WASHINGTON
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
Lowman & Hanford Co., 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. 4,
707-11 Sprague Ave.
Joyner Drug: Co., Howard & Riverside Ave.
Wenatchee: Wheeler's Photo & Gift Shop, 33
N. Wenatchee Ave.
Yakima: Yakima Book & Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Chaklston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 427 Milwaukee
St.
Oshkosh: Coe Drug- Co., 128 Main St.
Waukesha: Warren S. O'Brien Commercial
Studio, 353 Broadway.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Honolulu Photo Supply Co., 1059
Fort Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (South Africa) Ltd., "Ko-
dak House, "Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Aus'ralasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harringtons, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle
St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PL
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Agency, 179 Elizabeth St.
West A ustralia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
AUSTRIA
Vienna: Siegfried Wachtl. VII Neubaugasse 36.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Rundle, Ltd., 531 Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News, Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Lockhart's Camera Exchange, 29 Richmond
St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave., at Decarie Blvd.
H. de Lanauze. 1001 Bleury St.
Eastman Kodak Stores, Ltd.. 286 Craig St.,
W.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHILE
Santiago: Casa Heffer, Calle Estado 242.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393 Nan-
king Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
CUBA
Havana: "La Bohemia" Bookstore, Neptune 2B.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam-
eras, Senovazuna, 8 and Narodni tr. 26.
DENMARK
Copenhagen K: Kongsbak and Conn, Nygade 2.
V: Kodak Aktieselskab, Ostergada.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Birmingham: Kodak, Ltd., 42 Corporation St.
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 22-23 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C 2: Home's Camera Mart, 58 Old
Broad St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: 4. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Westminster Photographic Exchange, Ltd., 119
Victoria St.
Service Co., Ltd., 289 High Holborn.
W. C. 2: Sands, Hunter & Co., Ltd., 37
Bedford St., Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 New Bond St.,
47 Berkeley St., Piccadilly.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
LeGrimoire, 182 Blvd., Berthier, XVII.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361, W.
Foto Schaap & Co., Spui 8.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Gronnigen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi, 13-17 van Berchenstraat.
Capi, Broerstraat 48.
Rotterdam: Bollemeijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz, U-4.
INDIA
Ahmebabad: R. Tolat & Co., Bawa's St. Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
M. L. Mistry & Co., 46 Church Gate St., Fort.
Calcutta: Army S: Navy Coop. Soc, Ltd., 41
Chowringhee St.
Photographic Stores & Agency Co., 154 Dhur-
amtolla St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Fukada & Co., 2 Chome Kitakyutaro
Machi, Higashiku.
Shueisha, 25, Kitahama 4 Chome, Higashiku.
T. Uyeda & Co.. No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini, S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd.. 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S Nedre Slotsgate 13.
SCOTLAND
Aberdeen: James E. Henderson, Ltd., 164
Union St.
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine. 103 ^4 St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
Paisley: J. Lizars, 27 High St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Bilbao: Ignacio Araann, agent for Bell & Howell.
Colon de Larreategui 9.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol. 4.
Avenida Conde Penalyer 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., j5-3 High St.
SUMATRA
Medan: Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Friestrasse 74 (Sodeck).
H. Strubin & Co., Cine Service, Gerbergasse 25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Winterthur: Alb. Hoster, Marktgasse 57.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf (Vorm, Kienast &• Co.), Bahnofstr, 61
VENEZUELA
Caracas: Edo. Vogeler & Co., Apartado 470.
Maracairo: MacGregor & Co., Apartado Postal
No. 197.
S3 a year (Canada, $4.00,
Foreign, $3.50); 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
86
FEBRUARY 1932
WHY SAILORS GO WRONG
Featuring Nick Stuart, Sally Phipps, Sammy Cohen and Ted McNamara.
Five reels of the funniest comedy drama ever produced. Hilarious misadventures of an Irish cab driver and a Jewish taxi-driver
who encounter incredible but ridiculous perils afloat on a yacht and ashore on a cannibal Island.
Branch Libraries and Distributors in fifty-five of the leading cities of the United States and Canada
LIBRARY MEMBERSHIP NOT REQUIRED
But recommended because of extra advantages and economies afforded
RECENT REDUCTION IN RENTAL RATES
Non-members now rent at catalog rates. Members enjoy a 10% discount
NEW ILLUSTRATED DESCRIPTIVE CATALOG
FOURTH EDITION
contains many new subjects, drops many of the older ones and reduces rentals of many
others. 400 reels at average rental of less than 90c each ! Average rental entire library
(nearly 900 reels) only $1.09 each. You can rent twenty to forty reels for the cost of
one !
ATTRACTIVE PROPOSITION
to Dealers who desire Profits from operation of their own
Film Rental Libraries. Our Experience and Resources as-
sure the Success of our Distributors. No risk. Send for
booklet How the Kodascope Library Brought Prosperity to
Our Store.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
ALADDIN AND THE WONDERFUL LAMP
Featuring the Fox Kiddies in a lavish production of the Arabian Nights Story.
Aladdin's Lamp has ever been the synonym for the achievement of our heart's desire and this picture makes the dream come true.
There seems no limit to the power invoked by the mighty Slave of the Lamp. Four Reels.
Printed by W.N.U., New York
MOVIE MAKERS
easier threading
quieter operation
theater brilliance
Kodascope K makes fine pro-
jection easier than ever before
REGARDLESS of how well satisfied
_ you may be with your present
projector, step into your nearby
Cine-Kodak dealer's and make this
test of Kodascope, Model K.
Thread it yourself. Note how sim-
ple it is. Ample finger room permits
you to insert the film naturally, with-
out cramping or fumbling.
Plug a bridge or table lamp in the
special receptacle on the "K." Snap
on the Kodascope lamp switch . . . off
goes the room light. Then, when
you're ready to rewind, turn off the
proj ector lamp . . . and the room light
comes on. No need to grope in the
dark. No need to get out of your chair.
The "K" runs smoothly... quietly
...without annoying clatter.
And the pictures? There's the big
thrill! Real theater-like brilliance...
sharp, sparkling detail.
Here's just the sort of projection
you've wished for and probably
thought you never could obtain. Ko-
dascope, Model K, brings you these
extra conveniences and superior pro-
jection qualities for only $160...
with carrying case but $15 more.
See the "K." Compare it with other
projectors. Eastman Kodak Com-
pany, Rochester, New York.
*#»\ DISTINC-
♦.?
TIVE
FEATURES
OF THE "K"
\ 1. Special 2 60- watt
C' lamp and optical
/ system provide
maximum bril-
liance.
2. Light-trapped lamp house reduces
stray light leaking into the room dur-
ing projection.
3. Improved cooling system incorpo-
rates new type fan.
4. Receptacle for plugging in bridge or
table lamp so that when Kodascope
lamp switch is on, the room light is off.
5. All exposed operating parts are heav-
ily chromium plated.
6. Controls readily accessible on panel.
7. Lens mount permits interchanging of
lenses of various focal lengths.
8. Illuminated ammeter is supplied as
standard equipment.
9. Lamp and condensing lens attached to
hinged door of lamp house for easy
cleaning and replacement.
10. Oversize bearings assure long life.
Fully enclosed silent
driving gears
Automatic rewind — Just
touch the clutch
The new Filmo . . .
MODEL]
PROJECTOR
A child can operate it in the
dark . . . A theater would be
pleased with the results ....
Above all, the new Filmo Model J
Projector is simple; with the simplic-
ity of all truly fine things.^A series of
important improvements have elimi-
nated all small annoyances and delays
in personal movie showing. No belts
or chains to forget;' it is 100% gear
driven. It rewinds automatically with
a shift of a lever. A built-in pilot light
illuminates the threading mechanism
so that rethreading in a dark room is
the work of an instant. Tilt is con-
trolled by an easily accessible knob
that quickly and exactly centers images
on the screen. The voltmeter is illumi-
nated for easy reading. All controls
are so spaced that anyone with brief
experience can operate them in the
dark. There is even a radio interfer-
ence eliminator.
And Model J results are truly profes-
sional, with the fineness made possible
by Bell & Howell's 2 5 years of making
professional movie equipment pre-
ferred by leading professional studios
everywhere. Aero-type cooling keeps
the lamp-house cool with strongest
lighting. A refined reflector adjust-
ment yields brighter pictures. The
lamp-house prevents leakage of light.
An amazing new lens combined with
other optical refinements gives more
light. As a crowning advance, there is
its illuminating system, so powerful
that length of throw for all practical
Automatic pilot light —
When and where you
want it
New improved reflector
a djustm e n t — Be iter
Kodacolor results
Fast F 1.65 projection
lens — More light than
ordinary lenses
Lamphouse light trap —
No light on ceiling
The new Filmo Model J Projector is priced at $297,
complete with case. Other Filmo Projectors for as
low as $198. Filmo Cameras, $92 and up.
purposes is unlimited, and theater-
brilliant pictures up to 16 feet and
more in width can be shown, even in
an imperfectly darkened room.
Behind this formidable array of im-
provements is the time-tried and proved
Filmo Projector design, including a
film movement mechanism that auto-
matically frames steady, flickerless
pictures, controls for reversing and for
"still" projection, lens interchangea-
bility, and adaptability (under East-
man license) to Kodacolor.
See this new Projector at your dealer's
to-day. Have it demonstrated. Or write
to Bell & Howell, 1843 Larchmont
Avenue, Chicago; New York, Holly-
wood, London (B & H Co. Ltd.)
Established 1907.
BELL & HOWELL
FILMO
Personal Movie Cameras and Projectors
Made by Bell & Howell, the world's leading
manufacturers of finest quality professional
and personal motion picture equipment.
PROFESSIONAL
RESULTS
WITH
AMATEUR
EASE
MOVIE
Magazine of the Amateur Cinema League, Inc.
MARCH, 1932
25c
extra
speed
helps
indoor
as well as
outdoor
movies
UTDOORS of course — but also indoors — the rapidity
of Agfa Supersensitive Pan is of very great advantage.
It removes the limitations hitherto imposed upon the
movie-maker by rainy or cloudy weather, or the subdued
lighting of woods and narrow streets. And it lengthens
the period of the day when outdoor movies may be made.
Now you can use the same film, with the same confi-
dence, winter and summer, under practically all light con-
ditions. The extra speed combined with the wide latitude
of Agfa Supersensitive Pan gives screen results in terms
of brilliance and clarity that are really astounding.
If you are not already using Agfa Supersensitive Pan,
try a roll. You'll be more than pleased with the results.
Prices, including free processing and return transporta-
tion, per 100-foot roll, $7.50; per 50-foot roll, $4.00.
SUPERSENSITIVE
PANCHROMATIC
REVERSIBLE
16 mm. CINE FILM
AGFA
A N S C O
O F
BINGHAMTON
N
Branch Of fie es — Chicago, Boston, Kansas City, Detroit, Los Angeles, San Francisco, Toronto
Y .
91
FEB 27 1932
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
John H. Ahem
MOVIE MAKERS is published monthly in New York.
N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign
$3.50); to members of the Amateur Cinema League, Inc., $2.00 a year,
postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August
3, 1927, at the Post Office at New York, N. Y., under the Act of
March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and
Publication office: 105 West 40th Street, New York, N. Y.
Telephone PEnnsylvania 6-6836. Advertising rates on application.
Forms close on 10th of preceding month.
KATHER1NE L. NOONE Advertising Manager
ARTHUR L. GALE Continuity and Club Editor
RUSSELL C. HOLSLAG Technical Editor
LOUIS M. BAILEY Editorial Assistant
ALEXANDER de CANEDO Art Editor
ContCntS v<>lume VM y March, 1932^ Number 3
Cover design James A. Civille
Without any loss, editorial 97
Elements of editing Karl A . Barleben, Jr. 99
Annuals and perennials Epes W . Sargent 100
I share my notebook Beth Brown 101
Movie portraiture Marion N orris Gleason 102
"Pans" and tilts Arthur L. Gale 103
Amateur clubs Arthur L. Gale 104
Critical focusing 105
The clinic Russell C. Holslag 106
Educational films Louis Miller Bailey 107
Taught by the tropics The Reverend Peter L. Bell, S.D.W. 108
Palms and silver seas, an art title background 109
Church and film take a new step Louis Miller Bailey 112
Motion picture recording of cataract extraction Frank Claveloux Parker, M.D. 114
Featured releases for home and school 116
News of the industry 119
Free films 124
Closeups James W . Moore 126
Around the world with Movie Makers 127-8-9
Editor
JOHN BEARDSLEE CARRIGAN
92
MARCH 1932
Give your Filmo its full range
B & H Cooke Lenses for speed,
Kodacolor and long distance shots
6" f/5.5
1" /1/8 for Kodacolor
ESSENTIAL as a full bag of clubs to the
real golfer are these lenses to the Filmo
enthusiast who wants full range and versa-
tility from his Filmo. All are Cooke lenses,
famed for their sharp definition. Cooke
lenses are used exclusively by most profes-
sional cinematographers.
The Cooke 1-inch f/1.8 Speed Lens is the
recommended lens for Kodacolor. With it
and a Kodacolor filter, your Filmo is equipped
for movies with the appeal of full natural
color. Also the f/1.8 has the speed that
makes possible successful black and white
shots indoors with a minimum of light, as
well as pictures in outdoor deep shade or
under cloudy skies or late in the day, when
the regular //3.5 lens would not pass suffi-
cient light.
The 2-inch, 3-inch, 33/4-inch, 4-inch, and
6-inch telephoto lenses open up your Filmo
to intermediate and long distance shots, the
6-inch, for instance, having a magnifying
power six times greater than the regular
1-inch. Add a wide angle lens, 15 mm. f/2.5,
for work in close quarters and there are few
shots that your Filmo can't get to perfection.
4"// 4. 5
3" f/4
2"// 3. 5
The Cooke Special f/1.8 lens, complete with Kodacolor
filter, is #75. Lens alone, #60. The 4-inch //4.5 Tele-
photo, one of the most used, is #60 for Filmo 70-A or
#55 for Filmo 70-D and Filmo 75. See your dealer or
write for prices on others, and full information.
The new Cooke
15mm. //2.5 lens in
focusing1 mount — an
extremely wide angrle
lens for work in
close quarters; at 25
feet includes an area
16% feet wide.
Price, $55. in uni-
versal focus mount.
B &> H Extra Bright Screen pro-
vides the high degree of reflective
power necessary for adequate pro-
jection of Kodacolor pictures and
also for fullest brilliance in black
and white work. Double frame per-
mits facing the projection surface
inward when not in use. Swinging
feet turn parallel to the frame for
storage. 20 x 27", $21; 30 x 40".
$39.
(At right") B &• H All-metal Tripod
holds the camera truly steady and
eliminates the jerky effect that results
from moving the camera while taking
shots. Strong enough to support a
180 pound man, light enough to carry
about with ease. The pam-tilt head of
unique design gives pleasing smooth-
ness and latitude of movement. Leg
length adjustable. Rigid at any ex-
tension. Price, $36. With zipper-
type leather case, $48.50.
(Below) The B & H
Photometer, Model A, is
especially calibrated for
use with all Filmo Cam-
eras. It gives scientifi-
cally correct exposure
readings in 10 seconds.
Easy to use as a flash-
light. Model B for still
photography duplicates
for stills the quick and
accurate exposure read-
ings that the Model A
gives for movies. Price,
either model, $17.50.
(Case, $2.50.)
Now the B cV H Film Cleaner has been adapted to the new Filmo J and
JL Projectors. Only a change in the attaching arm was needed. Other-
wise it is exactly the same as the highly successful B & H Film Cleaner
as used on previous Filmo Projectors, giving the same easy and thorough
cleaning of film while movies are being projected, preserving the brilliancy
and clarity of films that can never be replaced. Price, for either Model I
or Model 57 Projectors, $13.50.
* BELL & HOWELL •
FILMO
Personal Movie Cameras and Accessories
Bell 8C Howell Co., 1843 Larchmont Ave., Chicago; New
York, Hollywood, London (B 8C H Co., Ltd.) Est. 1907.
PERSONAL MOVIE CAMERAS AND PROJECTORS
MOVIE MAKERS 93
•3- — »'
For Finest Results at LOWEST COST
per Projection Year
The new Filmo JL Projector
"VVyHEN you buy the new j . B^'^H Distinctly improved features
jector you buy not only ■ A'^kvw ! LIANCE — A new 400-watt, 100-
. . r , I r, J ^J^m t^ie wn°le screen with direct
projection years. JL \ I [>\ ' 1 75-wattlamp.
,.. ..| , , • ^K ^ll^B M^*' *^ are no belts or chains. Feed
finest personal movie pro- ^8k ^^^L_ *^ I driven.
delighting in the quality of ^ "%■ I kJS^I press a lever.
A A Kl U U 1 *W^L Sj^fl B' No stray light escapes.
TT t-, , , . II I mt- I HMhI « base when needed.
JL Projector has the time- HIP I M t r r h'
Projector has ever worn out. ^^ 4^ ^ spaced for convenient manipu-
P///5 along list of distinctim- ^lk>. jtk lation.
to the widespread demand At Uft—vamo Model jl Projector— $298
r r • 1 1 • 1 complete with carrying case.
for professional results with
amateur ease in personal movie projection. ♦BELL & HOWELL ♦
See the new Projector at your dealer's to-day. m m <w- --«- -« — - ^^^^
Or mail the coupon for descriptive folder. Bell & j j , nk ^B ^ ^
Howell Co., 1843 Larchmont Ave., Chicago, fr"1 I \J I I I
111.; New York, Hollywood, London {B & H ■ j ■ A I J ! % #
Co., Ltd.> Established 1907. ^^
PERSONAL MOVIE CAMERAS <&. PROJECTORS
THE FILMO 70-D CAMERA ■HBgT" T~ZSW .^^M a/t j u d 11 o tj ir 1, u» 1 J- r
The Filmo 70-D Camera is the Made by Bell & Howell, the world s leading manufac-
undisputed master of all personal V turers of finest quality professional and personal
movie cameras. It has a three- ' J . J * x
lens turret head, enabling you to jl^ V ■ motion picture equipment.
switch from one lens to another JiJpL - j
inaninstant. Its seven him speeds „j»^^^i -* *JM
give you the slowest of s-l-o-w BiiiJh\-0»- • — **► BELL & HOWELL COMPANY,
movies and the fastest, too. Its ^ ^TKSSKl #\ ' W , ,, , , 1 a < l ■ th
variable view-finder automatic- »rf» I So. 1843 Larchmont Ave., Chicago, 111.
ally frames your picture regard- CSIifll Gentlemen: Please send me complete information D on the
less of the focal length of the ~.. **- _■ i tt n - j i — i ^i_ -c-\ r> 1
lens. Prices $245 and up with *j new Filmo Model JL Projector and |_| on other rilmo Personal
Mayfair Case. Other Filmo ggf 1| ' HfiBN^. ''*!■ ^ Movie Cameras and Projectors.
Cameras from $92 and up. The ISm^ mI ^**JlRbk.
Filmo 7 5 Field Model Camera, WTk - Jj feiJjSjMWMi Name
equipped with Kodacolor filters ...Mk^fm i ■R&E-dH
and speed lens at $149.50, is the SMpjS Address
1 o w e s t - p r i c e d Kodacolor- ^^ES
equipped movie camera. HH City State
PROFESSIONAL
RESULTS
WITH
AMATEUR
EASE
94
MARCH 1932
THE
ENSIGN
16mm. AUTO- KIN ECAM CAMERA
The Ensign 16 mm. Auto-
Kinecam Camera is now sup-
plied (at no extra cost)
with a new style, flat type,
genuine leather case that
holds six rolls of film in ad-
dition to the camera.
Other features that make
this camera the outstand-
ing value in its price field:
Runs 35 feet of film in one
winding.
Has 3 speed shutter — 8, 16
and 64 exposures per sec-
ond.
Hand crank or spring drive.
Built in exposure calculator.
High grade //2.6-1" Cinar
Anastigmat Lens.
Sturdy construction through-
out.
Extremely silent in operation.
Fitting reverse at-
tachment for double
exposures or lap dis-
solves—$20.00 extra
COMPLETE WITH $
NEW CASE
99
INTERESTING AND HELPFUL ITEMS FOR THE
MOVIE ENTHUSIAST
WILLO CINE EXPOSURE METER—
A simple-operating, quick-reading, ex-
posure meter for use with any movie
camera — gives absolutely correct dia-
phragm readings. $8.00 with case
"W" TITLE BOARD AND LETTERS—
A practical titling outfit with unusual
celluloid type — produces a very distinc-
tive title — complete with 200 letters.
$8.50
DIST METER— Absolutely correct dis-
tance obtained at a glance — no more
out of focus results if you use this
device. $9.00 with case
PICCOLO POCKET TRIPOD — The
smallest collapsible metal tripod ever
made — 45" fully extended, IVi" when
folded up. In leather case $7.50
THE NEW WILLO BLUE BEADED SCREEN—
Coated with a surface of mixed blue and white beads,
it gives a brilliant picture without flare.
30" x 40" $20.00 in leatherette covered box
36" x 48" $25.00 in leatherette covered box
WILLOUGHBYS
110 WEST 32nd STREET, NEW YORK
;;i;;:;;;;;i;;;;::;i::n:i;;;:;n
All the speed, thrills and
Drama of the
WINTER
OLYMPIC
GAMES
AT LAKE PLAOID, N. Y.
The year's biggest
Sporting Jubilee
FILMED
FOR YOU
Can now be obtained
in 16mm. Films
I Reel, Approx. 100 ft.
*5.75
I Reel, Approx. 400 ft.
$17.50
WILLOUGHBYS
110 West 32nd Street, N. Y.
ixttttxx
MOVIE MAKERS
95
C >-*€>
We Furnish Story, Scenario and Titles
With Detailed Instructions For Making Perfect 16mm. Photoplays
2Ss
yOU DIRECT -» PHOTOGRAPH - PICTURE
With a Cast Composed of Your Family or Neighbors
Every detail has been completely prepared for your
use by professional WRITERS, DIRECTORS and
CINEMATOCRAPHERS from the biggest studios of
Hollywood. • Everything is fully explained; nothing
is left to chance. We provide the story and
scenario together with complete set of ART
TITLES, photographed on 16mm. film, ready to cut
into the picture. Also the H.M.S. number slate for
identifying the scenes. Price complete, $15.00.
NOW READY FOR PRODUCTION
For Outdoor Pictures From 300 to 400 Feet in Length
Any Place Winter or Summer
1 — "THE MORTGAGE COLLECTOR"
A burlesque for either children or grown-ups.
2 — "ALMOST A MURDER"
A drama for grown-ups.
3 — "THE CASTAWAY"
A burlesque South Sea Island story foi children or grown-ups.
4— "WHEN THE REX GANG RODE"
A story for the children, doll and dog.
5 — "WILD WEST"
A Cowboy, Indian story for the young boys, girls and mother.
6 — "MY FAMILY"
A story for the home which will enable you to utilize any film
which you might have on hand of friends or family.
7 — "ONE GOOD DEED"
A Boy Scout Drama involving camp life and first aid.
8 — "A TIMELY RESCUE"
A Boy Scout Story embracing safety and rescue work.
9 — "ON DUTY"
A Boy Scout Story involving the duties of a scout in a city or
town. For winter or summer.
10 — "PA GOES TO THE MOUNTAINS"
A comedy for the family in vacation time.
Pictures made from these Scenarios are eligible for the A.S.C.
AMATEUR MOVIE MAKING CONTEST.
Providing you edit the picture yourself and photograph your own titles.
Price of scenario and slate without titles, $10.00 complete.
EDITING
For pictures made from our scenarios, $5.00
per picture. All other editing $2.50 per hour,
payable COD. of finished reels.
H. M. S. NUMBER SLATE
A great aid in photographing and editing
pictures.
Price — $1.00
ART TITLES
Photographed on ART BACKGROUNDS, $.30
per title, not to exceed ten words, each addi-
tional word $.03.
Adjustable H.M.S. Sunshade
Matte-box and Filterholder
For Any 16mm. Camera
Price — $7.50
Gentlemen' Enclosed please find money order, for
$15.00, for which please send me postpaid the follow-
ing Scenario, together with H.M.S. number slate and
complete set of Art Titles photographed on Art Back-
grounds ready to cut into finished picture.
TITLE OF SCENARIO
NAME
ADDRESS
CITY & STATE
Please Print Name and Address
96
MARCH 1932
T4I£
VIODPv^tDOUBLtD
A
VlCTOft
w
r
OPTICAL
SYSTEM
... USING -^7SAME
PROJECTION LAMPS
Victor,
whose illumination has always set
a mark at which others aimed, now offers the HI-
POWER Optical System to those who desire still
MORE LIGHT for LARGER, more BRILLIANT
IMAGES and LONGER PROJECTION THROWS.
Sets a New Standard
for i6mm Brilliancy
Any of the regular or high intensity lamps — all of
which are accommodated by VICTOR Projectors
■ — are the same as doubled in power by the VIC-
TOR HI-POWER Optical System. Compared with
regular VICTOR equipment, more than twice as
much of the light from the lamp is utilized (re-
gardless of lamp ratings in watts and volts) and
the amount of illumination transmitted to the
screen is thereby doubled.
Available to Present Victor Projector
and Animatophone Owners
The *HI-POWER Optical System consists of a
"y^Super Reflector mounted in a special lamp
house extension, precision-ground >T Bull's Eye
Condensers, and a \^More Powerful Projection
Lens, all of which may be easily installed in a few
moments by any VICTOR owner. Ask your dealer
today ... or write direct.
*The VICTOR HI-POWER Optical System is supplied in new VICTOR
equipments only on order at a slight extra charge.
Manufactured by
Victor Animatograph Corporation
DAVENPORT, IOWA
Distributors for U. S. A.
NATIONAL THEATRE SUPPLY CO. (Wholesale Div.)
Branches in all Principal Cities
OMTOUIY DEALErV^DEMONSTP^TE
97
S
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
O widespread have been actual operation losses
in business all over the world and so general
have been salary and income reductions as a
result of these losses that a satirical New Year's
greeting found vogue in some places — "Happy
New Year less ten percent!" Not the enterprise
that operated at a profit in 1931 but the enterprise
that recorded only a slight loss was the one to
which palms were given at the end of December.
Members of the Amateur Cinema League, whose
affection for and loyalty to their organization have
been demonstrated so many times in the past, may take not a little comfort in
the fact that our League finished 1931 with a decent addition to its surplus funds
and that these surplus funds have been added to but never subtracted from
during the whole life of the association. Those in charge of the League's
operations expected to have to dip into this surplus to carry on 1931 operations
but this was successfully avoided. This means, in simple terms, that this
organization has been able to weather, so far, the worst financial depression of
modern times without any loss in operations.
This accomplishment has been made possible by a combination of sales
activity in disposing of advertising space in Movie Makers , in increasing the
League's membership roster and in securing more dealers to sell the League's
magazine in their retail establishments and of operation economy. Economies
have been effected without any disturbance to the quality or the quantity of
League services to members and without reducing the size of the headquarters
staff that provides those services. League members have received more than
ever before and this has been given to them with an addition to the League's
surplus funds which are the backlog of its security and continuity of existence.
One may well ask how this has been possible. Two reasons present them-
selves immediately to those who are carefully informed concerning amateur
movies. Amateur cinematographers are in this avocation to stay and, having
chosen a hobby for a lifetime, they at once recognize the unique service of the
Amateur Cinema League as something that is as essential to their filming success
as are a camera and film. The League has ridden through the depression getting
more members and keeping them. MOVIE MAKERS is, in the second place, a
tremendously powerful sales medium and is so recognized by the amateur movie
industry. These same earnest members who cling to League membership at the
sacrifice of lesser things believe in MOVIE MAKERS advertising and back up their
belief by purchase. Readers who buy are jewels beyond price to advertisers.
It is, therefore, possible for the League to keep its members and to offer an
advertising market that has no superior in the world of publications today, with
the obvious result that the League, in a time of world
depression, has safeguarded its surplus and has added to it.
This happy situation is not one for which those in charge
of the League's affairs are responsible. Rather, the members
of this vigorous organization by their effective support in
difficult days have anchored it to the living rock of security.
Without
any loss
96
MARCH 1932
VOOPv^tDOUBLtD
Tlf£
OPTICAL
SYSTEM
... USING JfioSkfWt
PROJECTION LAMPS
▼ IV^ I \-sl\f whose illumination has always set
a mark at which others aimed, now offers the HI-
POWER Optical System to those who desire still
MORE LIGHT for LARGER, more BRILLIANT
IMAGES and LONGER PROJECTION THROWS.
Sets a New Standard
for 16mm Brilliancy
Any of the regular or high intensity lamps — all of
which are accommodated by VICTOR Projectors
— are the same as doubled in power by the VIC-
TOR HI-POWER Optical System. Compared with
regular VICTOR equipment, more than twice as
much of the light from the lamp is utilized (re-
gardless of lamp ratings in watts and volts) and
the amount of illumination transmitted to the
screen is thereby doubled.
Available to Present Victor Proj'ector
and Animatophone Owners
The *HI-POWER Optical System consists of a
^Super Reflector mounted in a special lamp
house extension, precision-ground \^BuWs Eye
Condensers, and a ^More Powerful Projection
Lens, all of which may be easily installed in a few
moments by any VICTOR owner. Ask your dealer
today ... or write direct.
*Tho VICTOR HI-POWER Optical System is supplied in new VICTOR
equipments only on order at a slight extra charge.
Manufactured by
Victor Animatograph Corporation
DAVENPORT, IOWA
Distributors for U. S. A.
NATIONAL THEATRE SUPPLY CO. (Wholesale Div.)
Branches in all Principal Cities
O^/iYOUfV DEALErvSDEMONSTRM'E
97
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
SO widespread have been actual operation losses
in business all over the world and so general
have been salary and income reductions as a
result of these losses that a satirical New Year's
greeting found vogue in some places — "Happy
New Year less ten percent!" Not the enterprise
that operated at a profit in 1931 but the enterprise
that recorded only a slight loss was the one to
which palms were given at the end of December.
Members of the Amateur Cinema League, whose
affection for and loyalty to their organization have
been demonstrated so many times in the past, may take not a little comfort in
the fact that our League finished 1931 with a decent addition to its surplus funds
and that these surplus funds have been added to but never subtracted from
during the whole life of the association. Those in charge of the League's
operations expected to have to dip into this surplus to carry on 1931 operations
but this was successfully avoided. This means, in simple terms, that this
organization has been able to weather, so far, the worst financial depression of
modern times without any loss in operations.
This accomplishment has been made possible by a combination of sales
activity in disposing of advertising space in Movie Makers , in increasing the
League's membership roster and in securing more dealers to sell the League's
magazine in their retail establishments and of operation economy. Economies
have been effected without any disturbance to the quality or the quantity of
League services to members and without reducing the size of the headquarters
staff that provides those services. League members have received more than
ever before and this has been given to them with an addition to the League's
surplus funds which are the backlog of its security and continuity of existence.
One may well ask how this has been possible. Two reasons present them-
selves immediately to those who are carefully informed concerning amateur
movies. Amateur cinematographers are in this avocation to stay and, having
chosen a hobby for a lifetime, they at once recognize the unique service of the
Amateur Cinema League as something that is as essential to their filming success
as are a camera and film. The League has ridden through the depression getting
more members and keeping them. Movie Makers is, in the second place, a
tremendously powerful sales medium and is so recognized by the amateur movie
industry. These same earnest members who cling to League membership at the
sacrifice of lesser things believe in Movie Makers advertising and back up their
belief by purchase. Readers who buy are jewels beyond price to advertisers.
It is, therefore, possible for the League to keep its members and to offer an
advertising market that has no superior in the world of publications today, with
the obvious result that the League, in a time of world
depression, has safeguarded its surplus and has added to it.
This happy situation is not one for which those in charge
of the League's affairs are responsible. Rather, the members
of this vigorous organization by their effective support in
difficult days have anchored it to the living rock of security.
Without
any loss
98
John H. Ahern
A written plan, no mat-
ter how simple, is a vital
aid to intelligent editing
MOVIE
MAKERS
99
. £ _l'-' P" DITING, briefly, is the assembling of A «...'J^ f ~ n' w
elements or editing F rari?us «*»«<**** *«» ^h- A su,de to settms
^S Lv in their proper sequence, eliminating . .
bad strips, cutting scenes to their proper tnC UtmOSl OUl Ol
KARL A. BARLEBEN, JR. length and inserting titles where they be-
long. All this is vitally important to mak-
your film footage
ing a good picture and many a poor film
has been made passable by intelligent edit-
ing. Unfortunately, the majority of cine amateurs seem to think that, once the
photography and projection have taken place, films need no further attention.
The reels are stored in a box or closet and often forgotten. There is no reason
for this and the amateur should take sufficient pride in his films to edit them,
insert titles and perform the little attention to details which will transform them.
Any film, regardless of how carefully it has been photographed, requires a cer-
tain amount of editing and cutting before it looks its best on the screen. There
are blank frames to remove, long scenes to be shortened, scenes to be cut out of
their original place in the roll and spliced in again somewhere else where they
look better, etc. All this the amateur can easily do in his home at little expense.
Of course, the equipment may be expensive or otherwise, the main point being
that it depends primarily upon the amateur to use the equipment intelligently.
The requirements are simple enough. A rewinder, a bottle of good cement,
a splicing machine, a few spare empty metal reels and the amateur is ready to
begin cutting. The rewinding equipment is a simple affair, consisting of a
wooden platform, at each end of which an upright which serves to hold the reels
is mounted. Properly speaking, a rewinding unit consists of a "dummy" and a
rewinder, or geared device which rewinds the film when the crank is turned,
while a real editing outfit omits the "dummy," two geared rewinds being used so
that the film can be wound in either direction without loss of time. Several
amateur rewinding units are so equipped and, for amateurs who possess them,
they make for efficient and rapid work in editing.
The film cement is important. It should be fresh and undiluted. There are
many good makes of cement on the market, so it comes down to individual pref-
erence as to which the amateur will use. The most important thing about the
cement is to keep the bottle well stoppered at all times when not in actual use.
The splicer itself is deserving of consideration. There are two methods of
making splices on 16mm. film, straight or diagonal. There is not a great
deal of difference between the two and this, too, becomes a matter for the
individual to decide. The diagonal splice is said to have more holding surface,
giving a stronger splice, while the straight splice is less conspicuous on the
screen.
The routine in making a splice is so simple and has been explained so often
that it would be unnecessary to go into the matter here. However, it might be
well to mention a few matters which many amateurs forget or overlook. The
first is that of proper scraping. This is as important as using good cement.
The small area which constitutes the overlap must be scraped quite thoroughly
as the cement has no effect on the emulsion and, if all of it is not removed, the
splice will be apt to break apart at any time, particularly during projection
when it is sometimes bent sharply over sprockets. On the other hand, the scrap-
ing process should not go so far as to cut into the actual celluloid base of the
film, for this is just as bad as not scraping enough, weakening the base to the
point where it may break in two soon after the cement has been applied. Manu-
facturers supply a special tool for scraping, although many amateurs develop
the right touch in using a safety razor blade of the backed type.
The next point to be considered is the one of permitting the pressure
clamp to remain over the splice long enough. Cement dries and hardens quite
rapidly, yet as much as thirty seconds should be allowed for the splice to harden
before the pressure -is released from the newly made splice. The act of splicing
is more than simply sticking two ends of film together; it is, actually, a weld,
comparable with a metallic weld in which two metals are fused together into
one piece. The cement has the property of softening the two ends of the film and
hardening almost immediately. During this process, the two ends of film, being
"chemically melted," blend into one another. In fact, a properly made splice
will be stronger than the original film itself. However, it is necessary to leave
the pressure on the splice for a reasonable length of time. Many amateurs, in
their hurry, make a splice and remove the [Continued on page 125]
Armstrong Roberts
The spring filmer
finds the world
flower decked anew
BACK in February we suggested to a friend that it was about time he dug
his camera out of the bureau drawer where it has been hibernating all
winter. It was the general tone of our advice that he make sure that the
camera was working smoothly and that he take a few experimental shots to
get the "feel" of the work before he commenced his spring shooting. He looked
at us almost pityingly. "Aw," he replied. "I did all my spring stuff last year."
So we called him an "annual" and then we had something else to talk about.
In case your garden lore is a bit rusty, an annual is a plant which blooms
one season, dies down in the fall and stays dead. A perennial comes to life
the next spring and does it all over again and again the year after that. Really
a camera should be an evergreen. It never should die down. But, at the worst,
it should be a perennial and not an annual for there is something new all the
time. We do not know anyone who can work fast enough to exhaust all the
seasonal possibilities in one brief three months.
Even in a limited field, the old ground can at least be worked over with a
broader vision. The same old waterfall can be taken, but done so with the
riper experience of another year, a better set of angles can be contrived and
other light effects worked out. A better picture of that waterfall should be
sought, even though it means throwing the old shot away. The real fun of
picture making is making pictures. If new subjects cannot be found, old ones
should be worked over and made better. But there is always something new.
For example, a young lawyer whose office is in midtown New York does
not often have the opportunity to take his camera very far afield. He is having
the time of his life shooting out of his window at a new skyscraper which is
rising across the street. That is something he could not have shot a year ago.
So far he has taken about a thousand feet, out of which are about 150 feet that
could not be bought from him with a four or even five figure check. They are
exquisite.
The alternations of spring and winter, which have marked this New York
winter, have given him an extended spring season. He is collecting shots of
the tower with its head in the mists. Sometimes the fleecy clouds barely mask
the metal work of the extreme top. At other times, the fog comes down almost
to the setback. He has everything in between. There are mists thin as a bridal
veil and clouds black as a pessimist's thoughts. In some views, the sun lights
the eastern facade; in others, the tower is silhouetted against the afternoon
sun. When summer comes, he hopes to get black storm clouds for a back-
ground to complete the subject. He aims at only four hundred feet at the
outside, perhaps less. He is willing to expose two or three thousand to get those
perfect.
And to work out such an idea, not even a building is needed. Our week
end farm is in a little valley with a hillside slope rising perhaps two hundred
feet. And the mists are just as varied and as beautiful as those which wreathe
our friend's office building. Do not read any article like this for explicit
instructions. Read for suggestion. Apply the ideas rather than the exact
methods to your own environment.
Very possibly you did a lot of spring shooting last year. You may feel that
you have covered the ground pretty thoroughly. Perhaps you have but, since
that was a year ago, it is to be hoped that you have made some improvement in
technique. Surely a year has brought a better understanding of the value
of angles or, in other words, of odd viewpoints from which to shoot. You must
have a keener appreciation of the beautiful. Apply that new knowledge to
the old shots. Use it to obtain fresher ideas.
Go out with the camera and make miniature dramas of nature. Do not
try for productions because the weather is uncertain and one must shoot when
possible. Make nature shots your weakness for the time being. Get plenty
of sequences and work them into continuities later on. And do not let
"sequence" buffalo you. It may sound like something very professional and
difficult but it is not. A lot of beginners
think that a "sequence" is something which
must be made in Hollywood. This recalls an
English barmaid who used to mix "a half
of gin and bitters" and fill the glass with
vermouth. That was all in the day's work.
When told that this was a martini cocktail,
she went all to [Continued on page 113]
Spring drives should
refer to filming as
well as to cameras
EPES W. SARGENT
Annuals and perennials
100
101
I share my notebook
BETH BROWN
The secrets
successful
editor
of a
film
revealed
I WISH that I could talk to you about
titling amateur motion pictures rather
than to address you through an article.
I wish that we were in the cutting room
together, I in my blue smock and you in
your shirt sleeves, with the odor of film
cement prickling the nostrils, as sweet to
the movie maker as the odor of tanbark is
to the circus performer or printer's ink is to the ace reporter. I wish that all
of you and this five foot nothing of me, having selected our film, were carrying
the precious cans in a march toward the projection room, where we could sit
down, side by side in the darkness, and screen the mass of material that had no
beginning, no meaning and no ending. There is a grand and glorious feeling in
creating something out of nothing and the harder the task, the brighter the
laurel wreath.
What can be made of a mass of animal shots, sunsets, gardens, faces, humans,
skyscrapers, oysterbeds, bed springs and whatnots? That was the sort of mate-
rial I worked with for two years and the results had to be good enough for
screening in first run theaters. I needed a banister to guide my way to the stars
and so a scrap book was born, a very private affair which I have never before
shared with anyone. After all, every lady has her secrets! But my scrap book
has come tumbling from its shelf for you.
The following entry appeared under a May 27th date, "Screened a mass of
scenic film today. What new angle can I give this junk? Modern audiences
are tired of poetical titling. Too wordy and old fashioned. How about a film
about farms? Why not call it Growing Money?" And here are some of the
titles that popped up for that idea: A bank is not the only place where youj
can put your money and watch it grow — to be followed by farm scenes. Then,
for a northern winter scene came Snow banks yield Xmas trees — and Xmas
trees bring cold cash. Next was Making your roll out of cotton — pretty soft — .
For some Florida scenes, Alligators may be homely but they bring a handsome
profit — and When this big baby wakes up he'll be a pocketbook on a lady's
arm — . And so on. Being a very wise movie maker, you can readily see that
this is the same old scenic wearing a new dress. I merely bought a new horn
for my old automobile.
In my scrap book under a June 21st entry, I had jotted down a question,
"Have you enough footage for a film about trees? Call it just that. Trees."
The subject was an easy one to title once I caught hold of the central idea. In
titling this film, I stressed mood and tried to attain a soft rhythm in my sentences
— but no florid flourishes — no five syllable words. And how could I make trees
live for the audience? Perhaps by saying that they were man's friends, giving
all and asking nothing — the dog idea transferred bodily to the tree, stressing
the feeling of friendship. Here are some of the titles. A short introductory
title first, of course, and then Their willing arms drop ripe fruit into your lap
at harvest time — •; They gather moss to soften the bed for your sleep — ; And
this is why your dreams are sweet — , followed by a shot of a peaceful bayou;
Their beauty clothes the ugly city street — ; They build your home and then
stand guard beside it — ■; Without the gift of rubber trees, the world would not
go round — ; They strip their bamboo coats to make the chair that rests you — ;
And what can we get from a thin little tree like this? — followed by a scene of a
lonely little tree clinging to a rock in midstream — Courage to hold on tight to
life!
Ideas are like stairs that lead one to the other. In climbing up the trees,
I must have scrambled into a bird's nest, for what followed was a film called,
Mother Bird. I showed how a lady bird brought up her family from hungry in-
fancy, through highchair days into citizenship. This was a simple subject to
work with, once I had the main idea. A main idea will always save you a lot of
trouble and gray hair.
Under an entry of July 12th, my scrap book confesses, "Saw 24,000 feet
additional scenic. Scenics and summer colds seem to be my lot in life. What
new ideas are there?" And the oracle answered, "None." July 13th was ap-
parently a blank. July 14th stated, "No ideas as yet. Too hot to work. Wish
I were away on pleasure." Then, in a skyrocket scrawl which no one but I
could unscramble, "Got it! Call the darn thing Pleasure Hunting" I did.
My opening title contended that Pleasure is yours [Continued on page 122]
"They gather moss
to soften the bed
for your sleep — "
102
Movie portraiture
MARION NORRIS CLEASON
FOR years amateurs have made still snap shots for amuse-
ment and pleasure but, when a fine portrait study is
desired, a professional studio is visited. Comparatively
few professional photographers have attempted to make movie
portrait studies for owners of home projectors. The two main
reasons seem to be that the market would be limited and it
would be impossible to "touch up" the motion picture. How-
ever, neither reason need hamper the amateur who is willing
to invest time and care in the preparation of movie portraits
of members of his own family. It even might be possible for
some amateurs to capitalize on the reluctance of professional
photographers to enter the field and to build up enterprises
of their own, marketing skillfully prepared movie portraits.
The writer has often wished that it would be possible to have
a few motion picture studies of her children made by an
experienced artist.
In the meantime, experimenting has proved that it is not
difficult to make good movie portrait studies with very limited
equipment and that this type of film forms the most satisfac-
ory portion of the film library. Experience has shown that
these pictures are more popular than the casually filmed
scenes of family activities for they are brought out time and
again and, on each occasion, there is fresh enjoyment in
seeing them. It not only gives esthetic pleasure to see a well
lighted picture, prepared with care for details of composition,
but it is also satisfying to see the members of the family
looking their very best and, especially, in the case of the
children, it is interesting to watch developments as the studies
follow in succession on the screen.
The intimate atmosphere of a home interior adds charm to
a portrait study. In one case, a well lighted, sharply bayed
window was useful. The subject could be placed in the center
and a monk's cloth curtain drawn behind, thus furnishing a
rough neutral background, allowing enough light from either
side to define the face clearly. A whole series of studies of
children were made in
this setting, some of one
child, some of two chil-
dren side by side and
several of one child with
the family dog or cat.
For larger groups in
which a grownup was
Now film studies of
family and friends
cine snaps
repl
ace
usually involved, an armchair by a well lighted window was
used. The elder person was seated and the rest arranged
around the chair with a careful eye for balance. A sheet or
screen was used as a reflector. For full length studies, a
screen may be placed in a shady spot on the lawn where there
is plenty of reflected light. With a rug on the grass beneath
the subject, a semicloseup or medium shot with subject stand-
ing or sitting may be made with good effect. The flicking of
the eyelids, the slightest motion of the head and the curve of
the lips into a half smile will make the portrait alive and
charming.
If a variety of poses are to be filmed, it is better to stop the
camera and carefully plan and arrange the scene before ex-
posing the film, rather than to have the subject move from one
pose to another with the camera running. This point may be
illustrated by referring to the professional screen. During a
closeup of a character, there is usually very little movement
of the subject's body. If another closeup is used, it is made
as an entirely separate picture and usually from another
angle. The continuous near shots of mannequins posing as
dress and millinery models furnish a contrast. Frequently the
theater audience will break into laughter at some of the
particularly self conscious maneuvers made by the girl in
her attempt to look continuously charming in a dozen differ-
ent, consecutive ways. In spite of the fact that these actors
are chosen for their ability to appear beautiful under any
circumstances and have none of the limitations of the physiog-
nomies of the average family, the continuous effort to assume
one charming pose after another quickly passes the point
where the exquisite turns into the ridiculous. Hence it is
always better to stage and film each pose separately for, when
such scenes are spliced together, the awkward effect is not
produced.
Little children are exceptions to these rules, for they are
seldom self conscious unless made so. The only difficulty one
encounters with them is keeping them in focus. If they are
particularly restless, a toy may be given them. A new toy
can be relied upon to distract attention for quite a while. A
goldfish bowl is always helpful and adds to the charm of the
picture. The operation of the camera alone will hold the
attention of some children and two children together will
interest each other. They can be grouped together in an
endless variety of attractive [Continued on page 124]
Antun Bcuelil, Courtesy of Stei
A home's atmosphere
gives intimate charm
to screen portraits
103
The majesty of tall
towers is stressed
by upward tilting
ARTHUR L. GALE
Often the bane of
cine amateurs, they
can also be assets
//
Pans" and tilts
IT HAS often been remarked that a movie
camera is an instrument for recording
motion and that the first motion it
records is its own. This statement is en-
tirely correct and should be engraved on
the consciousness of every movie maker,
for there is no movement, shift or jiggle
made by the camera in operation that will
not appear on the screen. But movement of the camera may produce a pleasant
as well as an unpleasant effect on the screen and some of the most pleasing and
easiest screen effects are produced by a correct movement of the camera. Among
these is the much discussed and much maligned panorama, the glory of every
beginning amateur and the bane of every critic of amateur movies.
The panorama has a distinct field of usefulness and in that field it has no
competitors in facility nor in the production of a pleasant and desirable effect
on the screen. However, its facility, combined with lack of analysis of its utility,
has frequently caused abuse and everyone is familiar with the dizzy panorama
that strains the stoutest eyes and does injustice to the most magnificent views.
There are four fundamental rules to guide in making good panoramas that a
movie maker should hold in mind. The first is the common caution, a panorama
should be steady. A vertical jiggle, combined with the horizontal movement, is
bound to result in an unpleasant scene. Second, the panorama should be slow.
In concentrating on getting the scene before him, often a movie maker is
unconscious of the speed with which he is swinging the camera and the result
on the screen makes one giddy. Third, the motion of the camera should not
describe too wide an arc. An arc of about forty five degrees is all that should
be permitted the average panorama for, if the movement of the camera is made
at the correct slow rate, a continuous swing much longer than forty five degrees
is tiresome and makes too long a scene. Last, but far from least, of the general
rules is, never follow a panorama by swinging the camera back over the same
ground. This is probably the commonest and the worst of all panoramic faults.
In the first motion, of the camera, the scene has been revealed to the audience
and the movement back over the same ground merely repeats the view to no
purpose. Further, the quick reverse of direction of movement gives the film a
chaotic effect on the screen. To make matters worse, in such cases, the motion
in both directions is generally far too rapid. If the footage wasted in reverse
panoramas over the same subject could be miraculously added to the footage of
the original, fifty percent of the average amateur's panoramas would be greatly
improved. However, unfortunately, once film has been exposed in this manner,
to all intents and purposes, it is wasted.
Perhaps the most valuable use of the panorama is to follow important action.
This use, ideally handled, is often demonstrated in newsreel shots of sports,
professional photoplays and short subjects. When the moving object is large
enough to be clearly seen and is at a middle distance from the camera, a pano-
rama will produce its best results. In filming races, rodeos, hunting and water
sports, the panorama often helps to tell a story in a way impossible without its
use. Often, when the arc of the camera swing is small and the motion is steady
and smooth, the screen effect is particularly pleasant. Unfortunately, small
objects moving very fast cannot be followed on the screen and it is usually
better to refrain from trying to follow a ball in play at a football or baseball
game. In such cases it is better to follow the players than the ball. The players
may be seen but the ball probably cannot.
In following action of races or sports from the bleachers, it is preferable to
select a viewpoint or angle that will not include stationary objects in the
immediate foreground. The desirability of doing so is well illustrated by the
experience of the movie maker who followed the action of a race from a position
that included a picket fence in the lower half of the frame, with obviously un-
happy results. The moving object should be centered as well as possible. It is
admittedly difficult in following fast plays in sport filming but not in cases where
the subject matter can be controlled.
The panorama has many uses in scenic and travel filming. It can neatly
present a sweep of countryside, carry the eye down a river or present the grace-
ful curve of a bridge or similar structure. Unfortunately, however, many
filmers make too liberal a use of the panorama in such cases. Like many other
devices, if used in excess, it defeats its own [Continued on page 121]
104
Cagliostro, from the
film of that name
now being reedited
University of Illianis
Binghamton
Fifty five amateur movie makers attended
the second meeting of the Amateur Movie
Club, recently organized by Kenneth F. Space in Binghamton,
N. Y. The features of the program were a talk by John
Forrest on making movies by artificial light and the projection
of night movies made by Donald Brady. Tell Tale Heart and
Electra, from the League's Club Library, were screened.
Boston ■ Another new group, the Cinamateur Club in
Boston, Mass., has already held several meet-
ings at which members' films were screened. On the latest
program of this organization, the first club of amateur
cameramen in Boston, was a demonstration of new lighting
equipment and supersensitive film, during which film records
of the pioneer officers were made. John E. McHugh, A.C.L.,
is president; Joe Barron, A.C.L., vice president; A. Katz,
A.C.L., treasurer; Tom Patten, A.C.L., secretary; P. Levi,
sergeant at arms. This active club, made up almost entirely
of League members, will welcome new additions. Inquiries
concerning the club may be addressed to the club consultant
of the Amateur Cinema League, Inc.
Brooklyn ■ Ten enthusiastic amateur cameramen have
recently organized an informal amateur movie
club in Brooklyn, N. Y., and among the films screened at its
first meetings were Frozen Flames by E. H. Marsh, A.C.L.;
Tying A Dry Salmon Fly by Niels-Eske Brock, A.C.L.; Snakes
by Cornelius Denslow. Mr. Marsh is president of the club
and Mr. Coles is secretary.
Achievement ■ ^ (*irl And A Dress, 700 ft., is the title
of the fourth photoplay produced by
Clyde Hammond, A.C.L., of Youngstown, Ohio. The simple
story, expertly planned and filmed, tells of a country girl who
arduously saves to buy a beautiful frock only to meet with
the embittered jealousy
of her friends. More of
a psychological film
study than a plot, the
picture is handled with
keen subtlety and the
acting is unusually good.
There are several skil-
Latest news of
es
group activit
and photoplays
fully introduced trick shots and many beautifully photo-
graphed scenes in this latest experiment of Mr. Hammond.
Kansas City ■ During January, twenty five amateur
movie makers, under the leadership of
E. M. Critchfield, A.C.L., formed the Kansas City Amateur
Motion Picture Club, the first amateur movie club in Kansas
City, Mo. The new club's second program included the
screening of members' films and reels from the League's Club
Library. Great enthusiasm greeted the organizers and the
club has made a fine start.
Portland ■ ^n n^s annual letter to members, Edward J.
Schon, A.C.L., president of the Portland Cine
Club, announces a 1932 newsreel contest with prizes for the
best 400 ft. newsreels screened during the year. Features of
the most recent meeting were the screening of Kodacolor films
by Frank Riggs and the demonstration of 16mm. sound equip-
ment and films. Dues have been reduced to five dollars a year
and an attractive circular describing the services of the club
has been prepared.
Fresno ■ Honeymoon Trail, 800 ft., latest production of the
Sierra Cinema League of Fresno, Calif., had its
premiere screening at a joint meeting of the Fresno State
College Engineers and the Sierra Cinema League. The pic-
ture is an outdoor comedy of a couple who seek to avoid the
pranks of their friends by going on a secret camping expedi-
tion for their honeymoon. However, they fall in with a fake
guide who is working with the friends. The film is now being
loaned to local organizations for screenings. At the latest
meeting, films from the League's Club Library were screened
and the next club production was discussed.
Cine illusions ■ A recent program of the Metropolitan
Motion Picture Club in New York, N. Y.,
included a discussion of trick and effect filming by Herbert
C. McKay, a director of the club, and the projection of The
Fall Of The House Of Usher and A Trip Through Filmland.
A contest committee made up of George A. Ward, A.C.L.,
Robert Coles, A.C.L., and Hermann Danz, A.C.L., has been
appointed and is now arranging a contest with nearby clubs.
This will be preceded by a [Continued on page 117]
ARTHUR
GALE
Amateur clubs
Critical focusing
105
Technical reviews
for the amateur
cinematographer
Astute lighting of
scenes aids moods
of "Frankenstein"
"Frankenstein" ■ Lighting Effects.
Many interesting
and unusual lighting effects are offered in
this Universal horror film. In the open-
ing scenes, simulating dusk in a graveyard,
the light is exceptionally well handled to
suggest that period of the early evening
just after the sun has set. In scenes in the
laboratory during the creation of the monster, the usual high voltage electrical
displays, which seem indispensable to any professional photoplay of scientific
work, are offered. Nevertheless, these rather obvious methods are still effective
and in this case there is some nice cutting in building up suspense as to whether
or not the corpse will become animated by having been hauled up to the roof
and exposed to the lightning. It seems improbable but it so happens. There
are a number of excellent camera angles both in the laboratory sequences and
during Frankenstein's activities in collecting the material for his monster. This
film well illustrates the value of comedy relief for, although there is not much
of it, what there is, the overwrought audience eagerly seizes upon and hysterical
laughter greets the most feeble "gag."
"Tonight Or Never" ■ Framing. Clever use of musical instruments for
framing marks this latest Gloria Swanson pic-
ture of United Artists. In one case, a scene is shot at an interesting angle
through the triangle formed by the raised top of a grand piano. In another,
the framing is achieved by shooting between a violinist's arm, bow and in-
strument, thus securing a moving frame through which we see Miss Swanson
raptly watching the violinist who is playing to her.
"The Yellow Ticket" ■ Prism shots. This rather lurid Fox drama of
antebellum Russian life is chiefly interesting
to the amateur movie maker because of a number of effective prism shots which
serve to depict, in concentrated form, the feverish gaiety of a roadhouse. In
the circular, central area of the picture, there is shown a series of successive,
"straight" shots of the various persons and objects that are of chief interest.
Around this whirls a nebulous procession of prism shots. Amateurs cannot,
of course, use prisms to this extent but may well emulate the effect in a smaller
way through devices now on the 16mm. market.
"Transatlantic" ■ Introduction. Establishing the atmosphere of this Fox
film immediately and effectively, a group of short shots
of scenes incident to the sailing of a great liner are utilized. This technique,
reminiscent of methods in Russian films, can easily be adapted by the amateur
to many subjects in establishing desired atmospheric backgrounds. Machinery.
Fascinating scenes of moving machines in the engine room of the big liner also
distinguish this film and again demonstrate that such subjects are particularly
suited to the medium of the motion picture. Modern settings. For those to
whom modernistic decoration appeals, the settings of this film warrant study,
being among the best which the studios have yet produced. Their simplicity
and elimination of needless detail bring into prominence central action which
it is desired to stress, a principle essential to successful movie making but,
unfortunately, often overlooked.
"Sin Of Madelon Claudet" ■ Lapse of time. To illustrate those time
intervals which are usually indicated by
fadeouts and fadeins, this Metro film contains a device which, although not
new, is interesting in treatment. At the close of one scene, the effect is that
of the camera slowly panoraming to the next scene, just as if two scenes were
placed on adjacent sets and the camera was slowly shifted from one to the
other. In this case, the effect was gained by special printing but the amateur
photoplay producer might imitate it by preparing two sets side by side and
slowly panoraming the camera from one to the other. The effect would be
enhanced by the proper control of lights.
"Alice In \Vonderland" ■ ^ets an^ costumes. Produced under condi-
tions often approximating those of an amateur
filming unit, this version of Alice In Wonderland [Continued on page 121]
106
Technical reviews
for the amateur
cinematographer
March winds wield
a broom to sweep
clouds from the sky
Wind ■ Upon casual consideration, it
might be supposed there is lit-
tle to be said about the technical aspects
of picture taking in March. In the average
climate, it is a month of blustering winds,
of fitful gusts of rain or snow and of gen-
erally uninspiring conditions to the casual
cinematographer. But uninspiring to him
of the casual camera only, for the movie lens which is guided by intelligent
hands will see nature in March as full of action, both in its foregrounds and
backgrounds. This is the month for superspeed film : dark afternoons and scud-
ding, gray clouds still prevail. Thus we have, as background to our cine mood,
the low lying, swiftly moving cloud rack, sometimes opening up surprisingly
to show us a promise of clear sky. For such "open and shut" days we would
do well to use filters; a 2X is the best compromise because the average light
without the filter will usually call for an opening no smaller than //8 or f/11.
But, if superspeed is used with the filter, these identical openings may be used.
For the foreground is had the movement of tree branches and bare shrubbery
bending under the wind. These are outlined against the cloudy sky in silhouette.
Or, if the sun is shining, we may be so fortunate as to catch an "action shot"
of the shadows of windy treetops on a carpet of snow. Here one may dispense
with his filter and use his smallest lens stop.
Stop motion ■ By a paradox of nomenclature not infrequently met with
in our delightful hobby, the title of this paragraph does
not really mean that motion stops but that it is actually speeded up on the
screen. Or perhaps the reference is to the method employed, in which a picture
is taken, the camera stops, another picture is taken and so on. There may be a
long or short interval between each successive picture but, when the film is run
through the projector, the interval between each picture is only about one seven-
tieth of a second or thereabouts and so the original motion is obviously speeded
up. And the longer the original interval between each picture, the faster will
the motion appear on the screen. A more accurate designation of the
process would be "time condensation." It is interesting to note that one of the
new, little cameras is definitely provided with a single picture attachment so that
pressing the button makes one frame and no more. (The same thing may be
done with other cameras by a little practice in tapping the release lightly.) A
"stop motion" shot of buildings in the city, taken against a cloudy sky, will speed
up the clouds so that the scene becomes positively thrilling. Of course, an object
must have slow, regular motion for this work, else the result will be jerky.
Stlint of the month ■ Question: I am planning to give a movie show in a
hospital ward. I should like to project the image on
the white ceiling; will it injure the projector to point it straight upwards?
Answer: This would be a decidedly risky procedure, as the lamp filament will
sag if it is not burned in the proper, vertical position. You can project on the
ceiling in a way much easier than this. Get a fairly large flat mirror (a plate
glass one is the best) . Prop this up directly in front of the projector lens in its
usual position, so that the surface of the mirror forms an angle of forty five
degrees to the horizontal. The straight lines formed by the bottom and top edges
of the mirror must be parallel to the film in the gate. If you turn the projector
on, you will then note the screen image on the ceiling. A bttle shifting of the
mirror will put it just where you want it. The image may face in any direction;
simply turn projector and mirror to the position required. The film, however,
will need to be threaded in the projector so that the emulsion side faces in a
direction opposite to its usual position. Focusing is done in the usual way. (See
second medical note on page 107 and illustration on page 125.)
RUSSELL C. HOLSLAG
The clinic
Tinting ■ "One of the first things my friends notice about my films is that
they are bright and full of life. This is not entirely because of the
photography but also because I have taken thought to add appropriate color
here and there. Although the screen effect is decidedly impressive, I find film
tinting in short lengths is not difficult and will outline the procedure. Procure
a book of Velox Water Color Stamps. The colors most used will be green,
blue, red and amber. Sometimes brown can be [Continued on page 125]
Medical ■ T° record before and after cases and spinal temperature taken
with the neurocalometer is the use to which E. R. Witherell, D.C.,
Elkader, Iowa, has put his 35mm. filming equipment. Dr. Witherell reports he
is considering changing from 35 to 16mm. because of decreased operating costs
permitted by the amateur apparatus. ■ Solving the problem of child dentistry
in a really painless way, Dr. Lawrence Obrey, Boston, Mass., has installed in
his office a 16mm. projector, the pictures from which, shown on the ceiling,
cannot be seen unless the children lie in the proper position. (See Clinic, pages
106 and 125. ) He has found that cajolery is no longer required to get children to
his office and he can now work effectively while his patients are so absorbed in
the pictures that they forget to wiggle all over the chair. ■ Prof. Parnkopf of
Vienna lias achieved remarkable success in the photographing of surgical opera-
tions by using for subject matter cadavers prepared before hand, it is reported.
■ The Ohio State Board of Health has sent out, under supervision of H. E.
Kleinschmidt, a motor truck carrying a projector and health film. By covering
a carefully considered territory, much constructive work in preventive medicine
has been accomplished. ■ Following the showing, in Gary, Ind., of a smallpox
film. One Scar Or Many, to 980 school children, there were requests for 1600
vaccinations, Dr. J. F. Montague, medical director, Montague Hospital For
Intestinal Ailments, New York City, and contributor to Movie Makers, reports
in the Medical Times And Long Island Medical Journal. ■ An extensive list of
films which should be of especial value to teachers has been compiled and is
offered upon request to Franklin B. Hoar, physical educational department,
Taylor Allderdice High School, Pittsburgh, Pa. Data on the size and sources of
film is given. Health education subjects are classified under muscular and
skeletal, nervous, respiratory and circulatory systems, eyes, nose, ears, teeth,
posture, corrective gymnastics, nutrition, first aid, safety and disease. Physical
education subjects appear under the headings of various sports, such as base-
ball, wrestling and boxing, etc.
Business ■ -^-11 °^ *ne operations in the manufacture of shirts from the
arrival of the cloth to the boxing of completed garments are
covered in a 400 ft., 16mm. film recently made by Hauser Bob, A.C.L., of Buffalo,
N. Y. The film, produced at the plant of the D. & D. Shirt Company, Inc., in
Northampton, Pa., was made to show jobbers the operations of the plant and
the care with which the product is manufactured. The film has had many public
screenings in Northampton. ■The manufacture of precision lathes for metal
turning is shown in an 800 ft., 16mm. picture recently made by League members
in the advertising department of the Pratt and Whitney Company, Hartford,
Conn. The film starts with sequences of the working of molten metal, covers the
shop work and ends with pictures of the minutely accurate adjustments made
on the final machine. It is being successfully used in selling Pratt and Whitney
Model B lathes. ■ Alfred Burnell, A.C.L., Watsonville, Calif., is making an
800 ft., 16mm. film showing the manufacture of ice. Animated diagrams are to
picture the processes within the machines. ■ To show the making of monuments
from the initial quarrying of stone to grinding and polishing the completed
product is the aim of a 16mm. film now being made by Irvin Mohr, A.C.L.,
Belleville, Pa. ■ What happens to a news item in its trip through a small
modern newspaper plant will be shown in a 300 ft., 16mm. subject now being
made by F. W. Veith, A.C.L., Laingsburg, Michigan, it has been reported.
School ■ Life On The Quadrangles, a three reel talking film produced for the
University of Chicago to answer requests for information on its
activities, presents realistically its student life, taking the audience into the
laboratory, lecture and conference room, around the campus and onto the sport
field. Informal views of dormitory and fraternity life are presented and the
school newspaper and other extracurricular activities are looked in upon. Quin
Ryan, of radio fame, comments throughout
the film and Alma Mater, sung by the
school choir, accompanies the title. To
make for naturalness, staging of scenes was
avoided during production. The film's pre-
view, for benefit of the unemployed, packed
Mandel Hall and netted $900. The film will
beshownbefore [Continued on page 123]
Chemists now film
their achievements
in the laboratory
Educational films
LOUIS MILLER BAILEY
Medical, business,
school, welfare,
church & other uses
Parke. Davis & Compai
107
108
Taught by the tropics
THE REVEREND PETER L. BELL, S, D. W.
A record of things
that the South Sea
filmer should know
FOR MORE than six years the Society
of the Divine Word, through a de-
partment known as Mission Movies,
has been using motion pictures in its work
in the Little Sunda Islands of the Dutch
East Indies. While these films, though
little more than a pleasant, rather hap-
hazard record of the natives and of mis-
sionary work among them, have been used for fund raising with a certain suc-
cess both in Europe and in the United States, each new screening made more
clear that they were far from perfect and that better might yet be accomplished.
Plot and continuity were needed and one of the party was chosen to guide this
phase of filming. With these ambitious plans, the need of more extensive
technical apparatus was felt and, upon leaving for the Islands again, three
cameras (two spring driven and one hand cranked), a developing outfit, a
printer, a generator for producing current, two projectors and a large supply
of negative and positive film, processing chemicals, flashlights and flares com-
prised the equipment. It is from consequent experiences as cameraman,
laboratory superintendent, developer, printer and technical Jack of all trades
that the following suggestions are offered for filming in the tropics.
The first mistake that one can make is indicated in the conversation of a
friend on my return. He said, "I certainly would like to try my hand at movie
making in the tropics with that wonderfully brilliant light!" As far as its
photographic quality is concerned, my friend was grievously wrong. The light
in the tropics is indeed brilliant to the eye but a very different thing to photog-
raphic emulsion. As everyone knows, it is not the seeming brilliance but the
actual actinic value of light which affects the silver nitrate of the film. Accord-
ing to experience in our tropical portion of the world, the actinic value of the
light there is at least one third lower than in the United States or other tem-
perate zone countries. This means that, where at home a scene would have been
shot under certain light conditions at //ll, in the Sunda Islands //8 was found
more correct for seemingly identical conditions.
But there are other reasons for increasing the exposure besides this funda-
mental trickery of the light values. The old rule for negative and positive
filming, "Expose for the shadows and let the highlights take care of themselves,"
is particularly cogent when shooting in the tropics. There, with the strong
light and equally strong, heavy shadows, it was found safe practice to open
the diaphraghm one full stop over a normal setting for New York, Chicago or
San Francisco in the summertime.
Of course, a great deal depends on the photographic material being used.
While the results gained with panchromatic film seemed better, it proved
the most difficult stock to keep in good condition. On the other hand, with ortho-
chromatic, still other reasons cropped up for watching the exposure. For in-
stance, in shooting scenery, most of the mountains and slopes in the tropics are
covered with trees and shrubs of a very dark green. If, then, the exposure is
given according to the rule to stop down for open scenery, the scene will be
sure to be underexposed. Too, it is necessary to be careful in shooting portraits.
Most of the tropical peoples are not black but yellowish brown and often re-
markably light. It seems, however, that the pigment of their skin absorbs a
great deal of the actinic light value needed for the picture, so that, in making
many closeup stills for ethnographical purposes, best results were found to be
obtained with the subjects in full sunlight at about three in the afternoon, a stop
of //8 and an exposure of a fifth of a second; for movies, a stop of //5.6.
For good cine portraiture or closeups of any kind in the tropics, a light
reflector of some kind is an absolute essential. Again, this is because of the
unusually heavy shadows which, if not relieved, completely obscure parts of
the picture. If a closeup of a head were desired, it was often found enough
to have a person standing by in a white coat, an open newspaper or even a book.
A very good light screen can be made out of the tinfoil in which film packs
are wrapped but, of course, the best way is to use sheets or other white cloth
stretched on a portable frame.
The best time for movie making in the tropics is from half past nine till
eleven in the morning and from two till half past three in the afternoon. Be-
tween these times, the sun is too high and the unpleasant flat effects of top
light result. The finest days for clear pictures [Continued on page 122]
Palms and silver
seas for an art title
background. Titled
example on page 122
Photograph by H. Armstrong Boberts
; *.v
"' -i
• ,#;«
...r.':
^""^
110
MARCH 1932
D
espite uncertain we;
. . be certain
INDOOR scenes like this are easy to get with the
new film and 64-volt, 100-watt Mazda lamps . . .
Cine-Kodak Super-sensitive Panchromatic Film
costs only $7.50 for the 100-foot roll; $4 for the
50-foot roll. It is twice as fast as regular Panchro-
matic Film in daylight ... at least three times as fast
under artificial light. Cine-Kodak Panchromatic
Film is now $6 for the 100-foot roll; $3.25 for the
50-foot roll.
MOVIE MAKERS
111
her
PLENTY of action out-
doors this month. Be
ready to "shoot" regardless
of the sun. Cine-Kodak
Super-sensitive Film is twice
as fast as ordinary film in
daylight.
To Keep Your Camera on Active Duty
These Doubtful Days in March Use Cine-
Kodak Super- sensitive Panchromatic Film
Tf OAD your camera with Cine-Kodak Super-sensi-
-*-*' tive Film. Then you can go on making pictures
in spite of rain . . . dull, drab skies. Take all the
movies you intended to ... no matter how the sun
avoids your pet "locations." For this sensationally
fast film gets satisfactory pictures under conditions
where ordinary film would fail.
Even at night . . . indoors or out . . . Cine-Kodak
Super-sensitive Film keeps your camera active. Bright-
ly-lighted city streets . . . shops windows. Games in
the home under the illumination of 64 -volt, 100-
watt lamps. With this fast film you're always ready
for action.
No reason now why March weather need disrupt
your movie making schedule. Use Cine-Kodak Super-
sensitive Panchromatic Film and you'll get as many
and as good shots as you ever recorded.
ln Kodak Company
ROCHESTER
NEW YORK
no
MARCH 1932
C
v
Ci
CO
50
tm
un
Fil
50
±j A3 1 IV
MARCH 1932
MOVIE MAKERS
Despite uncertain weather
. . be certain
of good movies
INlX)OI\ scenes like this ate easy 10 get with the
new film and 64-volt, 1 oo-watt Mazda lumps . . .
Cine-Kodak Super-sensitive Panchromatic Film
costs only $7.50 for the too-foot toll; t>4 for the
50-foot roll. It is twice as fast .«s regular Panchro-
matic Film in daylight ... at least thtee times as last
jr.J.r :.rt.r:-.::il light C :r_* Kodak Panchtcmatii
Film is now $6 for the 100-foot roll; S>.^s for the
50-foot roll.
PLENTY of action out-
doors this month. Be
ready to "shoot" regardless
of the sun. Cine-Kodak
Super-sensitive Film is twice
as fast as ordinary film in
daylight.
To Keep Your Camera on Active Duty
These Doubtful Days in March Use Cine-
Kodak Super-sensitive Panchromatic Film
T OAD your camera with Cine-Kodak Super-sensi-
J-' tive Film. Then you can go on making pictures
in spite of rain . . . dull, drab skies. Take all the
movies you intended to . . . no matter how the sun
avoids your pet "locations." For this sensationally
fast film gets satisfactory pictures under conditions
where ordinary film would fail.
Even at night . . . indoors or out . . . Cine-Kodak
Super-sensitive Film keeps your camera active. Bright-
ly-lighted city streets . . . shops windows. Games in
the home under the illumination of 64-volt, 100-
watt lamps. With this fast film you're always ready
for action.
No reason now why March weather need disrupt
your movie making schedule. Use Cine-Kodak Super-
sensitive Panchromatic Film and you'll get as many
and as good shots as you ever recorded.
Eastman Kodak Company
ROCHESTER
NEW YORK
112
Church and film take a new step
LOUIS MILLER BAILEY
DESIGNED to give parochial school students through-
out the world opportunity more thoroughly to study
the central act of Catholic worship, a classroom
teaching film, The Sacrifice Of The Mass, has been announced
by Eastman Teaching Films, Inc., Rochester, N. Y., as
available in two reels, 16 or 35mm. While films to correlate
subjects in practically every field of study have long been
available, this is believed to be the first professional motion
picture devoted to religious training and, combining as it does
the technical experience of an outstanding educational film
producer and the liturgical knowlege of Catholic theologians,
it represents an unique contribution to the present limited
supply of generally available religious film subjects which,
in the past, have chiefly been dramatizations of the life of
Christ or travelogs of Bible lands. Though intended primarily
to be used to instruct children, The Sacrifice Of The Mass
should be highly valuable in Catholic colleges and seminaries.
For use in connection with such courses as Contemporary
Religions, it should hold great interest for nonCatholic insti-
tutions and, for the many movie makers, both ministers and
lay church workers, who plan the personal production of
religious subjects, it is rich in suggestions that would be of
greatest assistance in making their own subjects effective.
Although need for a properly filmed educational subject
interpreting the Mass had been apparent for some time, the
genesis of The Sacrifice Of The Mass, it is reported, was in
a cablegram received in Rochester from Belgium, during a
liturgical conference there last year, inquiring if such a pic-
ture were in existence. The first commercially produced
subject of its kind, the film brings to mind the amateur
production of Marshall Cannell, A.C.L., Providence, R. I.,
previously reported in Movie Makers, which shows the
preparation and care of the altar as carried out by a model
unit of efficiency and reverence, the Altar Guild Of St. Mar-
tin's Church in that city. This 16mm. film, together with a
study outline, is now being used by the Protestant Episcopal
Church throughout the country to stimulate similar guilds in
the performance of their service as right hands of the clergy.
Undertaken at the suggestion of the Right Reverend John
Francis O'Hern, Bishop of Rochester, The Sacrifice Of The
Mass, as completed, has been approved by him and by many
other prelates as a valuable aid in teaching and interpreting
the significance of the Mass. The picture was prepared under
Eastman Teaching Films, Inc.
The Mass is subject
of teaching film
for Catholic schools
the supervision of the
Rev. John M. Duffy,
M.A., Diocesan Superin-
tendent of Schools in
Rochester, N. Y. The
filming was done under
the direction of H. T.
Cowling at the main al-
tar of St. Patrick's Cathedral in that city. The Reverend
W. T. Craugh, Ph.D., Professor of Philosophy at St. Bernard's
Seminary, collaborated in writing the scenario, in the actual
filming and in the editing. He also prepared the teachers'
guide that accompanies the film. The chief reference work
used in preparing the picture was The Holy Sacrifice Of The
Mass by the Rev. Joseph J. Baierl, S. T. D., Professor of
Theology and Catechetics at St. Bernard's Seminary. Dr.
Baierl served as consultant in the compilation of the teachers'
guide.
The film is silent and so arranged that it may be stopped
at any point where explanations are desired by the teacher,
and the teachers' guide assists in getting full educational
value from it. In addition, titles and labels explain the actions
of the celebrant of the Mass and the identity of objects on
the altar. Much of the filming was done from positions close
to the altar and from advantageous angles not accessible to
lay worshippers. This fact, plus superlative photography,
brings out with utmost clearness every movement of the priest
and his server.
In order to impress the significance of the various parts of
the Mass upon the minds of the audience, interpretive
"visions" have been inserted at several points, carrying the
observers back to the events upon which the Mass is based.
At the Gospel, one vision shows Christ preaching to the multi-
tude. Another, following the consecration of the Host, por-
trays the Last Supper. Introductory scenes show the Old
Law Sacrifice, depicting the preChristian rite, and the New
Law Sacrifice, typified by Christ on the cross. The Mass itself
is introduced by showing the vesting of the celebrant, titles
identifying each vestment as it is put on. The priest is then
seen entering the sanctuary and the ceremony begins with
the Mass of the Catechumens. Subsequent units which com-
plete the film show the Mass of the Faithful, the Canon of
the Mass, the Communion and Concluding Prayers.
Details of the Mass,
seldom seen hitherto,
are revealed by film
MOVIE MAKERS
113
"•.l"d.rrl"k HLGC MEYER
[Continued from page 100]
pieces. After that she tried to make
cocktails instead of mixing gin and bit-
ters and it ruined her as a barmaid.
Don't think of getting sequences if
the word annoys you. Put it another
way. Persuade yourself that you need
to use enough film on each subject to
get a picture. Here's the idea. You are
walking along the road. You look up
and see a particularly interesting old
tree. You pause and enjoy the beauty of
its lines. Perhaps you come closer and
get it in better detail. Then you note
how certain branches seem to make a
natural frame for the landscape beyond.
And you continue your walk to new dis-
coveries.
That is a sequence. A distance shot, a
middle shot and a closeup in which the
branches make a natural frame. Per-
haps you take two or three angles of the
latter. In editing, half the footage may
be discarded. That is not waste. It is
far cheaper to have film to throw away
than to throw away film because you
have not enough for a single decent shot.
Get sequences and then, at leisure,
work them into continuities — another
dreadful word that merely means
smooth progress or relation of subject.
For example, you have a litter of pup-
pies. You have some spring lamb on
the hoof, perhaps some new arrivals in
the pig pen and some downy chicks.
You have trees barely coming into leaf,
crocuses and other plants in the bud.
These can be edited into a reel in which
they run through as just so many photo-
graphs, or a continuity can be built
around the idea that spring is the time
of rebirth, of new things and new hopes.
You start off with a title embodying that
thought, then a flash of the snow bound
landscape, a second title, perhaps some-
thing about the soft southern wind kiss-
ing nature to new life. This is followed
by a shot of budding flowers, by sprout-
ing leaves, by the ducklings and the
puppies and all the rest. The first thing
you know, you will have a reel that
people will ask to see. What could be
sweeter than that?
Spring is a time of rebirth. If you are
a perennial, let it mark your own re-
generation. Get the camera out of its
winter quarters and go to work. Perhaps
you took it all last year, but start in now
and you will find that there were plenty
of things you overlooked. Work for
clouds and mists. Shoot intimate de-
tails of the spring awakening. You are
not wasting film even though you may
be duplicating last year's shooting but
there is no reason why effort should be
duplicated when nature is so generous
in her changing aspect.
LENSES
FOR PRECISE WORK IN
CINCMATCGCAPHy
i/i.tt
71 \1
Trioplan //2.9— //3
Tele-Megor f/4
Telephoto lenses, focal
lengths up to 9 inches.
For the closeup shot,
for all forms of sport
photography and for
the shooting of distant
scenes. They give cri-
tical definition of dis-
tant objects and
sharply define details
imperceptible to the
naked eye. Relieve the
monotony of uninter-
rupted work with your
regular lens by in-
terspersing occasional
telephoto shots.
Kino-Plasmat f/1.5, 15mm.
wide angle lens
Combining wide angle
with extreme speed,
this lens affords a uni-
versal wide angle ap-
plication — indoors or
out. It is ideal for
close range interior
work, necessitating but
a minimum of arti-
ficial lighting ; it is
adapted — outdoors —
for all types of sport
and panoramic photo-
graphy. It is not neces-
sary to remove our
wide angle lenses from
turret when revolving
the latter.
Kino-Plasmat f/1.5, 1 inch,
the universal lens
The enormous speed
and high corrections of
this lens enable superb
results under all sorts
of light conditions — in
color or in black and
white. Sparkling bril-
liant negatives are as-
sured.
Kino-Plasmat f/1.5
2 inch.
A high speed lens
for moderate telephoto
effect. Ideal for indoor
work, particularly of a
scientific and technical
nature.
NEW
15mm. WIDE ANGLE
TRIOPLAN //2-8
In micrometer focusing mount.
H3CI.OO
Precisely calculated, highly corrected, care-
fully checked in every successive stage of
manufacture, Hugo Meyer Lenses afford
the cinematographer a keener joy in his
work. ... In our constant effort to success-
fully meet the varied requirements in-
herent in motion picture work, the lenses,
whose purposes are briefly listed above,
have been constructed by master-craftsmen
who take an intense pleasure in the accom-
plishment of worth while things. A Hugo
Meyer lens is always a desirable purchase,
reflecting in its precision, utility and per-
formance, a value that cannot be measured
by its price.
HUGO MEYER LENSES ARE STANDARD EQUIPMENT
ON THE VICTOR TURRET CAMERA
Comprehensive catalog on request.
Huec MEytc & Cc.
245 WEST 55TH STREET
Works : Goerlitz, Germany
NEW YORK
Motion picture recording of cataract extraction
FRANK CLAVELOUX PARKER, M. D.
MOTION picture photography of ophthalmic surgery
offers a valuable field for study not only from the
photographic standpoint but, of more importance,
from the teaching possibilities offered. Pictorial dissection
may be made and various steps of any operation photo-
graphed may be studied in detail for faults in technique as
well as to afford the student unlimited opportunity for view-
ing a particular operation as frequently as he may desire
in order to familiarize himself with various stages.
"That motion picture films will occupy an important place
in the teaching of medicine and surgery is becoming more
and more evident," Dr. J. Bentley Squier of New York City
has stated, adding that "this movement promises great ad-
vancement in educational methods and will result in the
development and distribution of the highest type of scientific
and professional films."
An operation on any particular subject can be seen only
once while the patient is on the table. Those who have
crowded about an operating table to view an eye operation
know about how much can be seen when a half dozen heads
are bobbing back and forth. A fleeting glance of the eye
is caught; then a hand gets in the way and the field is
obscured. Again, the operative field comes into view and,
just as an important step in the operation presents itself,
someone's head passes across the line of sight and a total
eclipse takes place. When the operation is completed, how
many have actually seen all the details? Contrast this with
a motion picture record seen by the camera at a distance
of five inches. Every move is not only recorded but magni-
fied so greatly on the screen during subsequent projection
that details are brought out that ordinarily would escape the
attention of all but a few in a crowded operating theater.
In making motion pic-
tures of cataract extrac-
tion, however, it was
found necessary to de-
vise a stand and holder
for the camera, as the
customary tripod was
Pn wholly unfitted for film-
Describing a unique
camera apparatus of
the author's desi
ing a patient lying prone at a distance of five inches from
the lens. Not only did the camera have to be held at the
proper angle but micrometer adjustments had to be pro-
vided for proper focusing and alignment, as a distance of
two or three millimeters, when working at five inches, is
enough to throw everything off focus and off field. The
stand devised has been provided with all necessary adjust-
ments— vertical, horizontal, lateral and any angle desired.
The whole apparatus has been built with the idea of holding
the camera directly over the eye of a reclining patient and,
at the same time, incorporating firmness and steadiness. It
may appear large and heavy but that is just what is desired
to prevent vibration.
As a safeguard against accident, the usual method of at-
taching the camera to a tripod or stand, by means of the
small locking screw, has been replaced by holding the
camera in a brace built into the stand. This precludes any
possibility of the camera falling which might happen if thr
entire weight were dependent simply upon the security of
the usual small screw fastening. I have never seen one of
these screws break but I have deemed it wise not to take
any chances of such an occurrence happening. It would
probably mean the loss of an eye.
It is also readily understandable that, at such a close dis-
tance, a slight movement of the camera will leave the eye
or, possibly, a large portion of the desired field entirely out
of the picture. It proved very annoying to be continually
looking through the finder to keep the proper alignment
and, as a result, a pointing or alignment arrangement was
also devised.
This device is inserted into the finder barrel after first
removing the eyepiece. A red convex lens is placed in the
opposite end. By switching on the current, a small electric
lamp is lighted within the finder barrel and a red spot of
light is projected upon the object about to be photographed
It then becomes only necessary to watch this spot of focused
red light in order to keep the camera registered properly.
Looking through the finder becomes unnecessary and the
operator, should he also be doing his own photography, can
easily remain in one position [Continued on next page]
1 14
r
Record
ing
ophthal
mic
V
— .
surgery
by
means
of
Dr. Parkei
's device
\
m
MOVIE MAKERS
115
and know at all times whether or not
the patient has moved his head slightly
and shifted the eye from the field of
the camera.
This projected red light is not thrown
directly into the eye being operated
upon, but one and one quarter inches
to one side, obviating any objectionable
glare. Holding a small measuring rod
vertically between camera lens and eye
determines the proper focusing distance
and holding the rod horizontally in the
plane to be photographed, then check-
ing up on the projected red light spot,
shows where to point the camera.
Another feature being worked out is
to focus the red spot of light to the
predetermined focus of the camera lens,
thereby having both foci to correspond.
In this way, when the red spot of light
is in focus, it is known that the camera
is also automatically in focus. This find-
ing arrangement was used in some
recent exposures and worked admirably.
Working at five inches or eight inches
has been found impossible without ad-
justment of the lenses furnished with
amateur cameras. These additions con-
sist of lengthening the lens barrel by
the insertion of a washer of predeter-
mined thickness between lens shoulder
and camera and also, at five inches, of
making use of an additional lens super-
imposed upon the regular camera lens.
In this work, the regulation 3.5 lens
has been used. Telephoto lenses were
avoided as they take the camera too far
away to handle with ease. Of course,
objection may be raised that, with the
camera only five inches above the eye,
there is not much room left to operate
but, in cataract work, the instruments
are held more or less in a horizontal
position, making it easy to operate with
the camera directly above the eye. How-
ever, one must accustom himself to the
camera so close to his face while at work
and not be disturbed thereby.
In the photography of muscle work
or other extraocular conditions, a dis-
tance of eight inches is preferable ow-
ing to the instrumentation, suturing,
mopping the wound, etc. Eight inches
give plenty of room and the size of the
image obtained is very pleasing al-
though not so large as in cataract extrac-
tion at five inches.
Many pictures are ruined in value
by the interposition of the operator's
or assistants' hands and this point must
continually be kept in mind, else, when
projected upon the screen, the pictures
will show a fine display of hands but
very little eye. This is one reason why
the writer prefers to both operate and
photograph. One knows just what he
is doing and what the limitations are
and consequently is better able to avoid
errors in technique. If the operator is
not familiar with camera work, he must
constantly be reminded to keep his
hands out of the camera's line of vision
LENSES
ut the world
BIOTAR F1.4JESSAR F2.7 and F3.5JELE-TESSAR F6.3
■ FINDERS ■ FILTERS ■ SUN-SHADES ■
FOR STANDARD and 16 MM MOVIE CAMERAS
CARLZEfSS, INC., 485 FIFTH AVE., NEW YORK. 728 SO. HILL ST., LOS ANGELES
*Dear Mr. Eno:
I am just delighted with my Florida reel
and my friends were delighted with it too.
They were all amazed at the professional
editing and titling which I think made the
pictures themselves seem more important.
Very truly yours,
Louise C. Schumacher
Flushing, L. I., N. Y.
*Dear Sir :
I have received your hand-let-
tered titles. They are the finest
piece of workmanship that I have
seen for some time. I will have
you do all my title work hence-
forth. Thanking you, I am
(Dr.) Robert Henry Veitch
Medford, Mass.
"Second and third in a series of unsolicited
letters indicating customer appreciation.
Free: TEST FILM
While your lights are still on, a correct
focus may be obtained if Eno's Test Strip is
spliced into your film.
Send $2.00 and copy for two short
titles. A Test Strip will be given
free with every order.
DISTINCTIVE KODACOLOR TITLES
(Hand Lettered or Printed)
48 HOUR SERVICE
Ralph C En©
1425 Broadway
PEnn 6-2634
America's Pioneer (16mm.) Art Title Builder and
Film Editor. Charter Member A.C.L.
METROPOLITAN OPERA HOUSE STUDIOS
Telephones
New York
PEnn 6-
116
GOERZ
CINE
LENSES
KINO-HYPAR
f/2.1 f/S
These lenses are held in high
esteem by the careful cinema-
tographer who appreciates their
depth of focus and absence of
flare and coma, their high cor-
rections for chromatic and
spherical aberration and the
remarkable brilliance and crisp-
ness of the resultant negatives.
The Kino-Hypar is the finest all-
round lens for amateur cinema-
tography.
Catalog MM3, describing
the complete line of Goerz
Lenses and accessories,
will be sent on applica-
tion.
CP.GOERZ AMERICAN OPTICALCq
317 EAST 34™ ST. NEWyORKCITY
Featured releases
for home and school
■ Bell & Howell Co., Chicago. Recent Filmo
Library releases comprise 151 sound on disk
Pathe subjects. Of these, thirteen are Grantland
Rice Sportlights; sixteen are Aesop's Fables;
sixty seven are two reel comedies; four are of
the Song Series; one is a miscellaneous subject
entitled Over There Today; eight are of the
Vagabond Series; forty two are features with
Pathe's foremost stars.
■ Eastman Kodak Co., Rochester, N. Y. The
Cinegra-phs offered by this library, including ad-
venture, natural history, animated model and
cartoon, World War, comedy, travel, sport and
general subjects, provide a wide range of splen-
did film fare. A new catalog is available.
■ Empire Safety Film Co., N. Y. C. Featur-
ing timely far eastern subjects, educational,
scenic and sport films are listed in the catalog
of this company available upon request.
■ F. C. Pictures Corp., Buffalo, N. Y. Little
Orphant Annie, featuring Colleen Moore, and
Abraham Li?icoln, with Frank McGlynn, are of-
fered by this library.
■ Hemenway Film Co., Boston, Mass. Depict-
ing the life of Christ, The Passion Play, de-
scribed as more elaborate than the Oberammer-
gau spectacle, is available in five reels.
■ Holmes Lectures, Burton, Inc., Chicago.
The travel films of this famous lecturer are
offered as ideal for inclusion in the home pro-
gram. An illustrated catalog is available.
■J Kodascope Libraries, Inc., N. Y. C. Buster's
Bust Up and N ewlyweds' Pest feature two roug-
ish children who will amuse both juveniles and
adults. Hold Your Breath, a Christie Comedy
featuring Walter Hiers, Tully Marshall and
Dorothy Devore, is a hilarious offering of hair
raising pursuit. Over 500 other interesting sub-
jects are listed by this library, which has
branches throughout the U. S. and Canada. A
catalog is available upon requesst.
■ Reynolds, E. M., Cleveland. Kaleido Capers,
showing the results when a camera is used with
a kaleidoscope, and Westward Bound, presenting
western scenes, both films 100 feet in length, are
offered. A catalog listing many other subjects is
available upon request.
MARCH 1932
or to hold an instrument this way or
that way to eliminate reflexes and to
give the best effect in the finished pic-
ture. Motion picture work at this close
range, therefore, depends in a great
measure on just how well the operator
himself behaves.
As to illumination, daylight cannot
be depended upon nor is it sufficient in
the operating room. Consequently, a
1000 watt Mazda lamp at a distance of
about three feet is used. Sufficient illu-
mination is thus secured to use the //4.5
stop for a cataract and the //5.5 for ex-
traocular work and smaller yet for skin
surfaces where more reflected light is
A
1 \
!
H
ffffl iLi n
f m
Details of Dr. Parker's stand: A and B control
horizontal and vertical camera swing; B, C and
D are for vertical and horizontal micrometer ad-
justments; F, L and M are camera locking
screws; K is fneumatic control and H is auto-
matic spotting and alignment device.
Uk
IP1*'!* i«. -
■ ■■ ilk. jm
\m BBBiiaik ■■■ ■
I ■*!■■
7
■■■
■ ■■
• ■a
0 9(1 IBP
II ' J I IBfc III
1 ■
1 1
■ i
!i^4H
i
II*
!' S
1 l
in
■ ■■
• ■ ■
■ ■ ■
■ ■ ■
in 1
""" ft 1
i uw mi., hup Vw ill ft. -ii iy i' *,«u'
■ ■ ■
■ ■■
• ■■
• ■■
■ ■■ Hq — ■
a nrii«-i«i
V \J\U W \VrM ■■ ■ni in 1L 1
■ ■■
• ■■
■ ■ dm itw h ■ «■■
' -! «T ^!- «!* !=- !B" -« H
<
■ ■■
■ ■■
■■■
■ ■■
■ ■■
■ ■•
ii ■
■ ■■
■ •■
• ■■
■ ■■
DFFERS HI
ON A
Exchange yoi
Eastman Kod
400 watt or /
allowance.
FRADE IN
your present
one of the rr
here. It will
communicate
or exchange c
and Craflex c
ment.
We have, at
to new. Wit
Cinephot anc
Liberal tra
Defer
COLUME
146 COLUMBUS AV
■»■■■■■>■■*■■■■■■■■■■■■■■■■■■*
■■■•■■•■■■*••»■•■■■■■■■■■■■■■■
■■■■■•■■■■■■■■■■■■■■■■■■■■■■a*
QV
NY
ir pre
ascop
km pre
Cine
lany i
be de
with
>quipr
amer,
prese
h cas
Drer
de in i
red 1
JUS
E.
IE
iseri
e K
40
-Ko
jpl
cid
us
nen
is ir
nt,
e
nop
Mow
. F
sn
e:
* p
[ or
Ow
dak
o d
edly
ify
t. \
i ex
a f<
hot
ance
me
>H
■■■■■
r a
<CH
rojectoi
B, Bel
att — wi
or Filr
ate mo
to you
ou desi
rVe also
change
2W Phol
meters
on othe
nts Ar
OTC
■■■■■■■■■■
LI
A
s f<
&
th v
no <
dels
r ac
re t
ace
for
>om
r eq
ran
) $
.ON
NC
)r the
Howe
ery hi
Camei
on d
vanta
o pur
ept fc
cinee
2ters
iiipmen
ged
iUP
VA
;ei
new
II JL
ghesi
a foi
splay
ge tc
chase
•Iding
quip-
equa
10.0C
5.00
t
PL
NEN
N
Y
CE
OR!
(
up
had. With superspeed, smaller stops in
proportion may be used. To reduce
halation as much as possible, black
covers have been made with a small
opening about three by four inches in
each. One of these covers is placed
over the patient's face and head, allow-
ing only a little more than the field
to show.
For exposing the camera, an old nose
and throat compressed air tank is em-
ployed. Using a regulation remote con-
trol and connecting it to the compressed
air tank through a rubber tube with
shutoff, it becomes easy for a nurse or
intern to start and stop the camera
shutter without touching the camera
and disturbing its alignment. A foot
control may be substituted. By mak-
ing use of a small flexible brass spring,
the remote control is locked fast to the
camera, preventing its being blown off.
The one present problem is the re-
winding at every twenty feet or so.
However, the stand described is of such
ample proportions and weight and the
movable parts so tightly constructed
that the rewinding can easily be done
with one hand by a nurse or intern
without disturbing any adjustment of
the camera. Possibly at some future
time, changes may be made whereby
the whole one hundred feet may be run
off without rewinding. This is easily
possible by removing the spring in the
camera and using a synchronous motor.
MOVIE MAKERS
Amateur clubs
[Continued from page 104]
formal contest for members to deter-
mine the films that will represent the
club in the competitions with other
movie clubs.
lersey City ■ At the annual elec-
tion of the Hudson
County Cine Club in Jersey City, N. J.,
Dr. Clarence W. Winchell, A.C.L., was
reelected president; Joseph A. Schlitt,
Jr., was chosen as vice president; Rob-
ert Shannon, A.C.L., secretary; William
J. Shannon, A.C.L., treasurer; Donald
Crawford, A.C.L., chairman of the pro-
gram committee. Travel films of the
West Indies, made by Theodore Koven,
A.C.L., Howard Lavenston and Dr. Win-
chell, and pictures of the New Jersey
fish hatcheries, filmed by Robert Shan-
non, were screened following the elec-
tion. The club will give its annual pub-
lic exhibition of amateur motion pic-
tures in May.
117
Lady gangster
Little Miss Cea-
sar is to be the
title of the first film from the Movie
Makers of Englewood, N. J., a newly
formed amateur production group. The
picture, to be directed by Ted N. Huff,
A.C.L., and protographed by John H.
Wood, A.C.L., is to be a satire on profes-
sional gangster pictures. In the cast will
be Lucy Otto, Edward Otto, Elizabeth
Stewart, Muriel Ruddick and Virginia
Wood.
Two features B Jn tne cast of Poor
Rich, a production
of a Detroit amateur unit working un-
der the leadership of Jack Navin, are
Margaret Newman, Elizabeth Suther-
land, Frank Standish, Isabelle Calla-
han, Ted Newman, Bill Laurie and Vir-
ginia Simmons. In a later picture,
Those Mad Barclays, leads are played
by Bill Laurie, Elizabeth Sutherland
and Margaret Newman. This film is
a murder mystery, well worked out and
presented in much greater detail than
most amateur mystery productions.
In France ■ ^n tne international ama-
teur movie competition
recently held in Brussels, Belgium, P.
Boyer, a member of the Club des Ama-
teurs Cineastes en France of Paris,
France, won first prize with his film,
Hazard. A medal was presented to Mr.
Boyer and another medal was presented
to the club. Among the films screened
at the December meeting of the Club des
Amateurs Cineastes en France were
Colonial Exhibition by Mr. Boyer; A
Canoe Trip Down The River Tarn by J.
de Tourtier; Plastic Surgical Operation
by Martin Lowy, A.C.L. On the same
program, new 16 and 9.5mm projectors
were demonstrated.
final Month/
THE WORLD FAMOUS
DALLMEYER
MOTION PICTURE LENSES
E have said the last word on this great stock reduction
sale. Don't miss this extraordinary opportunity to pur-
chase the finest motion picture lenses in the world —
DALLMEYER— at exactly Vi price. All are
absolutely new and each carries the Dall-
meyer guarantee. Necessary alterations
will be made without extra charge. Don't
waste any time. They're going fast.
PHENOMENAL PRICE REDUCTION LIST
OF DALLMEYER LENSES for 16 m/m. cameras
—such as the BELL & HOWELL 70A, 70C, 70D and 70DA, and VICTOR
LENSES LIST SALE
Wi" focal length f/1.5 Ultra Speed $85.00 $42.50
2"
//1.5 Ultra Speed 85.00
//1.9Kine 50.00
//2.9Pentac 100.00
f/3.5 Dalmac Foe. Mount 41.00
//3.5Dalmac Barrel 31.00
//4 Telephoto 80.00
//3.5 Telephoto 125.00
Z/4.5 Telephoto 90.00
42.50
25.00
50.00
20.50
15.50
40.00
62.50
45.00
We Sincerely Urge You to
ACT NOW!
SALE ENDS APRIL 15th
HERBERT & HUESGEN CO.
Sole U. S. Sales Agents
18 EAST 42nd ST. h<tween Grand Cen,ral and 5lh Ave- NEW YORK, N. Y.
118
MARCH 1932
KODATITLES
for your
Winter Movies
Title your Winter
pictures now while
the incidents are
fresh in your mind.
Our quality titles
will make them all
the more enjoyable
when projected
later on.
Send for illustrated
booklet.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
CRti-IG-
I^RAIG spliced film runs through the
^■^ projector without noise and does
not flicker on the scree.n. Straight
splices are quickly, easily and accurate-
ly made without wetting the film to
remove the emulsion. See the Craig at
your cine dealers.
$15. OO
Combination Craig splicer t*-*\m
and Thalhammer rewinders . . . «p.AJ
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
A new version ■ At its nrst election,
the newly formed
Alton Movie Club of Semaphore, South
Australia, chose R. Hall as president;
George S. Hutton, Jr., secretary treas-
urer; Miss Joyce Shaw, recording sec-
retary; Clifford F. Howe, publicity;
Miss Jean Hutton and H. W. Allen,
librarians. The first production is to be
The Ruse And The Ring, a scenario
published in Movie Makers. In the
cast will be Ray Kilton, Joyce Shaw,
Percy Pollnitz, Jean Hutton, Jim Ailing-
ham, Robert Hall, Frank Went and
Dawn Anderson.
Rushes ■ Tne Amateur Cinema
Club of Bridgeport,
Conn., is holding a contest to select a
design for a club leader. At recent
meetings, What A Night and Opportu-
nity Knocks from the League's Club
Library were screened. ■ The Cinema
Club of Scarsdale, N. Y., recently held
a public screening of its production,
The Mystery Of Foster Manor. The
gate receipts will be devoted to the pro-
duction of another picture this spring.
Amateur talkie equipment was demon-
strate at a late meeting. M Extensive
public screenings of members' films are
being given by the Amateur Motion
Picture Club of the Oranges, N. J.
Newsreel films of rifle meets and films
of camps have met with popular recep-
tion and the screenings are netting the
club funds to help carry on filming ac-
tivities, writes Frank M. Seiffert, Jr.,
A.C.L. B An amateur movie club is
being formed in Scranton, Pa., under
the leadership of R. B. Dixon, ACL. A
preliminary meeting brought a large
turnout. B The Academy for the Ad-
vancement of Arts and Sciences in Pitts-
burgh, Pa., has formed an Amateur
Cinema Section which will engage in
general amateur movie club activities.
W. B. McGill is president of the sec-
tion. ■ The San Juan Players of Berke-
ley, Calif., have produced The House Of
Rimon, a combination of stage and
screen. The third act, presented on the
screen, was filmed by Harold Hock,
A.C.L. • In Harrisburg, Pa., the re-
cently organized Monarch Movie Club
has started a drama, The Devil Is Mad,
under the direction of Silo S. Horwitz.
David Keffer is cameraman and Jack C.
Day, film editor. ■ In Montclair, N. J.,
Olin Potter Geer, A.C.L., is organizing
an informal club of enthusiastic ama-
teur cameramen.
British amateurs
Sheffield ■ The Steward Cup,
awarded by the Sheffield
Amateur Film Club to the member
screening the best film of the year,
was presented to Arthur Hobson as the
producer of Screen Cameos Of Lake
Lucerne, selected as last year's best
picture. Second place was awarded A
Fortnight's Tour In Nature's Wonder-
land, filmed by J. W. Gillot. The Stew-
ard Cup will remain in Mr. Hobson's
possession for a year only but he will
retain a gold medal while Mr. Gillot will
retain a silver medal. The club has
recently filmed a slapstick comedy.
Newcastle ■ Bonaventure is the
title of a dramatic
thriller produced by a group of mem-
bers of the Newcastle and District A.
C. A. Locations on board ship and
around Newcastle Quayside were used
and furnished realistic backgrounds for
the exciting episodes of the story, writ-
ten by James Cameron, Jr., A.C.L.,
who also directed the picture. Mrs. G.
Davison acted as cinematographer and
in the cast were Janet Cameron, Doris
M. Graham, Margaret Foster, F. Brooke
Davidson, J. Jeffrey and James Cam-
eron, Jr. Included in the offerings re-
cently screened at club meetings were
Three Episodes from the League's Club
Library; Her Suited Suitor, production
of the Sheffield Amateur Film Club;
With The Caronia To Norway, a travel
film by T. Temple; A Day's Amusement
as well as a Kodacolor reel made by T.
W. J. Edge and topical films made by
James Cameron, Jr. Arthur G. Greaves,
A.C.L., whose Kodacolor film, The
Toilers, won a place in Movie Makers
list of the best ten amateur films of 1931,
is a pioneer of the Newcastle A. C. A.
London ■ Recent programs of the
London Amateur Film
Club have featured lectures on color
filming, lighting, camera work and
makeup. Outstanding among the mem-
bers' films recently screened is Cruise
To The Meddy, a travel picture. Work
on the club's two productions, Con-
spiracy and The Choice, has unfortu-
nately been held up due to temporary
lack of studio accommodation. How-
ever, the club is continuing its weekly
program meetings. Miles Mander is
president of the club; Sadie Andrews
and May Jasper, honorary secretaries;
W. Archer Hodgson, honorary treas-
urer; Patricia Anstey, scenarist; E. G.
Fuller, title writer.
Bolton ■ During February, the Bol-
ton Amateur Cine Associa-
tion held a public screening of its re-
cently completed picture, Sporting
Times, a drama of the boxing ring.
Among the films screened at late meet-
ings were Hell's Belles and Delirium
from Ace Movies; Frontier Guards
filmed by H. Hirst ; Preference by New-
castle A. C. A. ; A Night Of Fear filmed
by R. J. K. Marker; Twelve Hours by
Wolverhampton A. C. A. ; Ethel's Opera-
tion by the Birmingham A. C. A. ; Three
Episodes from the League's Club Li-
brary; a film of the Manchester School
of Art made by G. H. F. Higginson.
MOVIE MAKERS
119
News of the industry
RCA Victor ■ 16mm. sound on
film, a development
in home talkies long a subject of inter-
est to the industry, is now promised
within a short time by the RCA Victor
Company of Camden, New Jersey. The
model first demonstrated was stated to
be of the industrial type and it is said
the principles here set forth will be em-
bodied in a machine more definitely de-
signed to fit in the home environment.
The new RCA Victor Junior Portable
will use 16mm. film with one line of
perforations only, the space left vacant
by the omission of perforations on the
other edge of the film being utilized for
the .sound track. In its travel through
the specially designed projector, the
film follows the lines taken in conven-
tional cine design except that, between
the gate and the takeup sprocket there
is provided a small "sound head" which,
through the aid of an exciter lamp and
photoelectric cell, picks up fluctuations
of the synchronized sound track along
the edge of the film and converts them
into electrical impulses. These impulses
are built up in an amplifier contained
within the projector case and are fed to
a loud speaker which reproduces the
sound and is located near the screen.
The model here shown is entirely con-
tained in two cases for transportation;
for exhibition, the reel arms are ex-
tended, the film threaded, power supply
and loudspeaker are connected and the
machine is ready for service. Although
all the essential mechanism is readily
accessible for threading, in operation,
the case may be closed so that extrane-
ous noise is reduced to a minimum.
However, even when the case is closed,
the projector switch and volume control
are fully accessible. Amplifier tubes,
exciter lamp and photocell are of stand-
ard type and are readily replaceable.
Movie Makers awaits with great inter-
est the more complete details of the
subsequent home model of this machine,
to be announced here.
Scenario Service ■ Ready made
scenarios, said
to possess sufficient flexibility to be ap-
plicable to many familiar situations of
interest to the home cinematographer,
are now offered by Home Movie Sce-
narios, Inc., 1220 Guaranty Bldg., Hol-
lywood, Calif. The present list includes
ten typical titles, with more to follow.
They are prepared in complete, profes-
sional form and are accompanied by the
New 16mm. sound on film
projector which is being
sponsored by RCA Victor
H. M. S. Number Slate for identifying
scenes. This is a clever little device,
modeled on the professional form and
provided with movable numbers and
letters which are photographed at the
end of every scene for convenience in
later editing. In addition, all the titles
necessary to the progress of the story
are furnished on art backgrounds.
New Ampro ■ The increasing use
of 16mm. in fields
which involve exhibition to larger audi-
ences has created a demand for more
light for the larger projected images.
This requirement has been taken into
account by the Ampro Corporation,
2839 N. Western Avenue, Chicago, in
its new 400 watt biplane filament lamp
projector, possessing a number of inter-
esting features. A new, silent type
mechanism is incorporated in this pro-
jector which is said to be able to handle
any condition of average film with ease,
including freshly processed stock. A
considerable increase in the forced ven-
tilation facilities is provided, giving
maximum life and efficiency to the lamp.
Answers the query,
"What's new?" for
amateur and dealer
The new model is universal in that it
may be operated either on A.C. or D.C.
without any electrical alteration. Also,
the 200 watt lamp may be used in place
of the more powerful 400 if desired.
The new projectors are available in two
finishes, the de luxe Model AD in
bronze, grain finish with pilot light,
chrome plated parts and de luxe case
and the standard Model AS in black
with nickeled parts and standard case.
Strong ■ Recently demonstrated at
the showrooms of the Capi-
tol Motion Picture Supply Company of
New York City, the Strong Junior arc
lamp, designed, it is stated, for smaller
professional and 16mm. installations,
proved a very workable piece of appa-
ratus. In fact, the lamp and its hous-
ing constitutes a miniature version of
the large, professional reflector arc
made by this firm for use in theaters.
In such lamps, the arc is maintained
automatically at the focal point of a
special reflector. The Strong Co., 2501
LaGrange St., Toledo, O., is the maker.
RoSCO ■ A new n'm cement which,
on testing, was found effec-
tive on 16mm. film, is marketed by the
Rosco Laboratories, 367 Hudson Ave.,
Brooklyn, N. Y. The same firm also
manufactures Filmrite. a film cleaner
which the amateur will find valuable.
PROJECTION
OPTICAL SYSTEM
v 7
SPEAKER
PLUG
AMPLIFIER COMPENSATOR PROJECTOR SWITCH
SWITCH SWITCH AND AMPLIFIER.
VOLUME CONTROL
120
MARCH 1932
(Photo Courtesy Canadian National Railways)
Bring 'Em Up Close
With a Wollensak
Cine -Telephoto
In your dramatic reels, as in
your travelogues, a telephoto
gives breath-taking interest.
Do you want a closeup of an ani-
mal a mile away? Don't walk
the mile. Bring the animal to
you with a Wollensak Cine-Tele-
photo Lens. Note that we say a
Wollensak. For a Wollensak
gives sharp brilliant definition
to the very edges of the film. A
Wollensak works at speeds fast
enough for almost any light con-
dition. Special compactness pre-
vents optical or mechanical in-
terference. Diaphragm and dis-
tance markings are set from one
easily read indicator. Magnifica-
tions from 2 to 6. Speeds //3.3
to //4. Write for literature.
WOLLENSAK OPTICAL CO.
980 Hudson Avenue Rochester, N. Y.
This is the Wollensak 6" focus,
//4. On 16 mm. film it magni-
fies 6 times. Not expensive.
Simplex Film Gleaner
Model C Price $8.00
Produced by
ERNEST M. REYNOLDS
165 E. 191st Street, Cleveland, Ohio
Mikes move ■ The Universal Mi-
crophone Company,
Ltd., formerly located at 1163 Hyde
Park Boulevard, Inglewood, Calif., is
now at 424 Warren Lane, Inglewood.
Goerz ■ A Boston newspaper has
printed an extended ac-
count of the Goerz Cine-Panor lens, de-
scribed in these columns some months
ago. It appears that the use of this lens,
with its greatly extended field of view,
has proved of definite value in making
film records of football plays for coach-
ing purposes. It will be remembered
that this lens, in conjunction with any
ordinary taking lens, gives a "wide film"
screen effect with ordinary 16mm. film.
Unique Goerz visual focuser
for the Leica still camera,
a helpful cine accessory
Steady Stand ■ In effect a unipod,
or "tripod with
one leg," a new device of this name
offers many possibilities in steady cam-
era holding without the necessity for
erecting the more usual tripod. It is
made by the Thalhammer Corpn., 123
South Fremont Ave., Los Angeles, Calif.
|SjJ2Q |_ ■ The latest model of the
Cine Nizo camera, re-
cently announced in these columns, is
designated as the Model by Niezoldi &
Kramer of Munich, Germany.
Cleaner ■ An efficient, self con-
tained machine for
cleaning and restoring pliability to
16mm. film was recently demonstrated
by the National Film Renovating Com-
pany, 630 Ninth Avenue, New York.
Theater records n Ten incn double
disc records, set
for 33 1/3 or 78 r. p. m. and featuring
recent Broadway tunes, are offered by
the American Record Corporation, 1776
Broadway, New York City.
S.M.P.E. ■ Movie Makers has
watched with interest
the progress and achievement of the
Society of Motion Picture Engineers,
particularly in the technical field of
development. This body is composed
of engineers, technicians and motion
picture workers in general, both in 35
and 16mm., and has for its object the
PRACTOS
The only
EXPOSURE
METER
for both cine and still cameras
Accurate . . . simple . . . compact
. . . Wastes no time in making
adjustments or calculations.
The Practos, the newest and simplest of
meters, combines 2 exposure gauges in 1
instrument, one for cine, the other for (till
photography. It is the last word in sim-
plicity, remarkably free from complicating
gadgets, yet absolutely accurate in its re-
sults. You do not have to use a sliding
scale — you simply look into the meter and
obtain your findings visually.
A leather case of new design opens
horizontally, as illustrated, facil-
itating the handling of the Practos.
Price $5.75
Send for literature, or see this
unique meter at your dealers.
Burleigh Brooks
127 W. 42nd St. New York
©
TITLES
, : j — ' Complete editing and titling
I YESTERDAY I service. (16 mm. or stand-
iOS ard-> Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendaleOOll
DETROIT, MICH.
Reflector
and stand *5
This very special outstanding value, regularly
priced at $11.50, is complete with reflector and
stand. It can be used with the new 64 volt bulb
or any T type of bulb, up to 500 watts. The new
64 volt G.E. electric bulb, used in 100 volt cir-
cuit gives illumination comparable to a 400 watt
T type of bulb. Life of bulb 45 to 60 minutes.
Photographically this is a great deal of time. Price
each bulb $.40, 64 volt.
SEND FOR OUR NEW BARGAIN BOOK
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM-3F, Chicago, 111.
MOVIE MAKERS
121
determination of standards, experimen-
tation and investigation in motion pic-
ture science. Because there is a very
definite part of this fine work which
will be of direct interest to League mem-
bers, News of the industry and The
clinic will note such advances as may
be deemed of interest in our field. A
complete record of the transactions of
the Society may be had in its Journal,
issued monthly. Further information
may be had from its offices, 33 West
42nd Street, New York City. ■ At the
present time, special attention is cen-
tered on the Projection Practice Com-
mittee of the Society, which is doing
some excellent work in the professional
field in the standardizing of projectors
and projecting. It is to be hoped that
this work will extend into the substand-
ard field, which new developments are
making more important as time goes on.
Publication reviews
New magazine ■ The Screen is a
new amateur
movie publication in England which
presents news of the societies, lists
current productions and offers general
news and articles helpful to the ama-
teur cameraman, with special emphasis
on amateur photoplay producing. It is
hoped this excellent new magazine will
greatly stimulate the societies in Great
Britain by providing means of increas-
ing membership and for film exchange.
The address of The Screen is 37 Furni-
val Street, E. C. 4, London, England.
Constance Hacker
Symbolic illustration for
"Automatic Checkers," one of
"Cinematic Design" scenarios
"Cinematic Design" ■ Examina-
t i o n o f
the history of the arts reveals the amateur
in their practice as the experimenter,
innovator and the chief instrument of
their advancement. It should, therefore,
delight all proponents of the eighth art
to hail, from the pen of an amateur,
what is probably the first important
philosophical consideration of the ele-
ments of motion picture art, Cinematic
Design by Leonard Hacker, A. C. L.,
from the presses of the American Photo-
graphic Publishing Co., 428 Newbury
St., Boston, Mass. Discussing the sub-
jects of form, rhythm, color and rela-
tivity in motion pictures and completed
by nine scenarios suggested by the au-
thor's theories, this book, of pleasingly
modern format and happily illustrated
by Constance Hacker, is one which
every amateur who is interested in cine-
matic experiment will wish to possess
and to study with care.
Critical focusing
[Continued from page 105]
by Unique Foto Films offers many ex-
cellent examples of makeup, costuming
and settings that the amateur might well
study. However, cinematic illusions,
such as the scenes of Alice's fall or of
the Cheshire cat, could be handled much
better by many amateurs. A number of
interesting opportunities for trick work,
such as Alice's getting very large and
very small, are ignored.
"Pans'' and tilts
[Continued from page 103]
purpose. The greater part of any film
should be composed of sequences of
steady shots and the panorama should
be reserved for the instances where con-
tinuation of the scene seems necessary.
When it has been decided to use a pano-
rama in a scenic or similar picture, the
best results are obtained if the movie
maker takes a position and selects a
viewpoint that will permit him to "pano-
ram" from an object of less interest to
an object of greater interest. Thus, for
example, if a panorama of hilly coun-
tryside were being made, it would be
most effective to begin the swing with a
view of the foothills and to end the
sweep with the tallest and most impres-
sive of the mountains in view. Similarly,
should the subject be a portion of a city
skyline, it would be better to begin with
a view of the lower buildings and end
with a much larger structure. If impres-
siveness and grandeur are not qualities
entering into consideration, then beauty
or grace of composition can be substi-
tuted, as, for example, in the case of
a panorama of a stretch of garden that
finishes with a view framed by the
branches of an old oak. In this way,
the panorama has a little climax of its
own and the movement of the camera
is provided with an obvious purpose and
brought to a close effectively.
Even better result* may be obtained
NOW take
Beautiful Pic-
tures in your
own HOME.
Every quality
you have wanted
in your indoor
movies Plus un-
restricted action
is now possible
when you illum-
inate with
FOTOLITES
Range in price from $1.25
to $16.00 (without bulbs.)
For with Fotolites (exclusive chem-
ical finish) you can take sparkling
— clear pictures right in your home
even on dark days and at night. Most
light with lowest equipment cost.
THE STANRITE TRIPOD
AND PANRITE
Professionals and
serious amateurs
find the new
STANRITE
TRIPOD and the
PANRITE
TILTING
T O P an
ideal combi-
nation. As-
sure steady
running pic-
tures at any
angle. Fit
any camera.
Light weight.
Beautiful
construction
(mahogany
and chromi-
um.)
Stanrite Tripod, $12.00
Panrite Tilting Top
$9.00
Lockrite attachment
for above, $3.00
NEW
10 REEL
Film
Carrying Case
This Beauti-
ful case is
equip ped
with a spe-
cially designed removable moistener
which permits moistening without
danger of damaging films.
10 Reel, $6.50 20 Reel, $9.00.
TESTRITE INSTRUMENT CO.
57 E. 11th Street, N. Y. C.
Without obligation send free par-
ticlars.
To
A ddress
122
MARCH 1932
Let's Swap
Projector si
You want this powerful
. . . quiet . . . beltless
. . Bell & Howell
Model JL with the new
400 watt biplane fila-
ment Mazda bulb. Price
$298.00.
Send Bass description of
your projector or catnera for
prompt cash appraisal.
New Bell & Howell Catalog and
Bass Bargaingram free on request.
BASS
CAMERA COMPANY
179 W. Madison Street, Chicago
Camera Headquarters for Tourists
Tk
■id
e woria is yours:
Travel with Burton Holmes to Norway,
Austria, France, Holland, Egypt, China,
Siam — or wherever you will. The Burton
Holmes Library Films (16mm.) will
carry you away to the far corners of the
globe. A complete list of films available
will be sent to those who are interested.
Write for it today.
The BURTON HOLMES LECTURES, Inc.
7510 N. Ashland Ave. Chicago
Ask your dealer jar a list of
Burton Holmes Ready Made Art Titles
16MM.
35MM.
SPECIALIZING
in the
design and construction of cam-
eras, projectors and printers built
ro individual specifications.
Equipment altered, rebuilt
or repaired.
Estimates furnished on all
cinematic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
SOUND
112 East 73d St.
New York City
RH 4-4950
COLOR
by holding the camera steady for a few
seconds at the end of the pivot, and the
best method of all is both to begin and
end the panorama with a few feet of the
view made with the camera held motion-
less. Thus, the ideal scenic panorama
would begin after one or two feet of film
had been exposed. Then the camera
should be slowly and evenly moved on
its pivot to a point where a particularly
beautiful or dramatic scene was framed.
At this point, the movement of the cam-
era would stop while two or three feet
of film passed through the gate.
Such a panorama will connect
smoothly with the succeeding sequence
and form a unit that may be easily han-
dled in editing. It gives the effect of a
period or a pause in the picture and it
also permits cutting to a different view
of the subject ending the panorama.
It is wise to guard against "panoram-
ing" along the horizon, especially when
it is unbroken by hills or trees. At best,
a picture bisected by the horizon line
makes bad composition but the effect
seems doubled when combined with
movement. A sky panorama is likely to
be disappointing chiefly because the
clouds present a continuous pattern
without significance unless carefully
framed in a selected composition.
In personality or family films, the
panorama should be used only to follow
action. In case it is desired to present
a large group of people in one scene, it
is better, first, to move the camera
back than to "panoram." Then, for near
shots, cut to views of different sections.
Almost all of the points applying to
"panorams" also apply to tilting the
camera, for a tilt is, after all, a vertical
panorama. In tilting, of particular im-
portance is the point made about mov-
ing the camera from a view of lesser
interest to one of greater interest and
pausing at the beginning and end of
the swing. It is not always easy to de-
cide which direction of movement will
end the scene most satisfactorily. Ob-
viously, in the case of tall buildings, it
is better to tilt the camera upwards to
emphasize elevation and verticality. On
the other hand, it is probably more ef-
fective to film a waterfall by tilting the
camera down the fall, ending with the
water striking the pool below. Should
the tilt be upward toward the sky, it
will be found that beautiful cloud for-
mations will always enhance the value
of the pause at the end of the scene. In
any case, never retrace the ground just
covered by immediately tilting the cam-
era back again!
Although both panoramas and tilted
shots are extremely simple to make and
although, during filming, it is often
tempting to swing the camera in one
direction or another, in the last analy-
sis, it will be found that restraint and
advance consideration are the keys to
best results as in any phase of filming.
Taught by the tropics
[Continued from page 108]
were found to be those when the sky was
not entirely blue but a bit overcast
with white clouds. Under such condi-
tions, even when the sun was actually
obscured in the clouds, the average ex-
posure could be shorter than in bright
sunlight. At all times, to insure the
Possible
by Ralph
title on
lettering
R. Eno of
page I 09
clearest pictures, it is very important
to use a lens hood. While most cameras
are equipped with such guards against
halation, in case of necessity, a piece of
rolled up cardboard or even a stick of
bamboo can serve. Exposure in the
tropics might be summed up as follows:
while it is very hard, with normally good
judgement, to overexpose films, it is
very easy to underexpose them.
Further data on tropical filming, re-
corded by the Reverend Mr. Bell, partic-
ularly in regard to developing and print-
ing, will appear in an early issue.
I share my notebook
[Continued from page 101]
for nothing if you know where to hunt — .
Then the subtitles were Your canoe
can find it for you along the quiet of
untroubled waters — ; For some hunt-
ers— pleasure is on the wing — ; There's
pleasure in sweeping the sea of its
fish — ; Does your happiness hide in a
little golf ball? When winter comes —
there's pleasure at the fireside — . And
so on. I am sure that you get the idea of
how these titles emphasized a continuity.
If you are a stickler for form, notice
how simple the wording is and how
grimly I cling to my theme of pleasure
hunting. Write your sentence first,
then fine comb it, smoothing out all
unnecessary words, phrases and punctu-
ation marks. I might add that Pleasure
Hunting had a kid sister. It was christ-
ened Honeymoon Hints.
However, all is not scenic that glit-
ters. I had long entertained a wish to
avenge myself on the masculine sex that
was forever pointing me out as a mem-
MOVIE MAKERS
ber of the weaker sex. Had not the
members of the so called weaker sex
doffed their corsets and girded them-
selves with golf balls, surf boards and
channel championships? I chose to
shoot my pistol off in film form. For
this duel, I culled all the shots I could
find of strong, athletic ladies. I poked
deliberate fun at the worn out adage
of "the weaker sex." Deliberately, I
wrote titles that gave no clue to the
picture that followed them.
Here are the titles. Yes, in grandma's
day, woman's place was in the home —
followed by a picture of a modern girl;
The old time girl used to get dizzy on a
merry go round — preceding a shot of a
modern girl in a humdinger of a rodeo;
Dear grandma thought a spring board
ivas something to iron spring clothes on
— followed by a shot of a modern girl
diving from one; The modern girl will
be diving from a cloud next! before a
scene of a dive off a ninety foot spring
board.
I saved my girl boxing champion,
basketball queens, fencing stars and
motorcycle trick riders for last and trust
that I removed, for all time, the clinging
ivy idea. Of course, this rebellion was
strictly for reel purposes. Being a cling-
ing vine in real life has altogether too
many advantages!
Educational films
[Continued from page 107]
high school and alumni groups in the
middle west by means of a portable
projector operated by K. A. Rouse, as-
sistant to the dean and former football
captain. 16mm. prints will be made for
distant showings. ■ Designed to instruct
students in correct handling of balances,
Chemical Balance, 200 ft., 16mm., has
been produced at Fordham University,
N. Y. C, by Claude R. Schwob, working
under supervision of Prof. L. K. Ya-
nowski, professor of quantitative analy-
sis. In a test of the film's teaching value,
much greater accuracy and rapidity in
handling the balance was found true of
students who saw the film as compared
with those of the other half of the class
who did not. ■ Film has been advanced
as a means of reducing the cost of edu-
cation because of its power to speed up
the imparting of knowledge. A reel of
film has successfully presented material
in fifteen minutes' time that requires
four chapters of the textbook and ten
days to discuss and digest, according to
B. A. Aughinbaugh in The Educational
Screen.
Church ■ Production of religious
talking pictures for na-
tional use in Protestant churches is the
aim of the newly organized John Wesley
Picture Foundation, according to its
president, the Rev. C. C. Marshall,
D.D., Brooklyn, N. Y., who says the
res!
Derfect
Features of the
ELECTROPHOT
Registers light intensity thru a
scientifically accurate electric eye.
Gives instant reading from a dial
scaled //l to //32.
Eliminates the guesswork of
"tube squinting," the need for
removing glasses (if you wear
them), and does not depend upon
that variable factor the human
eye.
No sighting — no estimating.
Pays for itself in film saved.
For those quick shots that leave Why take a chance on a poor picture or complete loss of the
no time for "visual" estimating scene — and waste footage — when the Electrophot Exposure Meter
it immediately indicates whether assures you of a scientifically accurate lens setting to get perfect
color or other special work is pos- exposure every time. The knowledge that every shot is a good one
sible and when to use the new reflects itself in the quality of work you do, and Electrophot is
. fii a dependable guide in any special work you undertake. The re-
superspeea mm. markable results obtained with the Electrophot have made it the
Developed on proved photoelec- most outstanding recent development in the international amateur
trie principles used in profes- movie field.
sional movies, color sorting, pho- Complete in leather case, with full instructions, $35.00 in U. S.
tometry, etc. See it at your dealer's or write direct.
^SS^W^£^SA J- THOS. RHAMSTINE 501 E. Woodbridge, Detroit
black finish, chrome fittings. Manufacturers of Precision Electrical Apparatus for 12 Years.
ELECTROPHOT
photoelectric EXPOSURE METER
III Sensational MOVIE OFFER!
An Additional Shipment at Far Below
HALF PRICE
De Vry
AUTOMATIC CAMERAS
ELECTRIC PROJECTORS
ABOVE, THE CAMERA
The dependable Graf f/3.5
anastigmat lens in standard
mou?it. Powerful automatic
motor. Uses 16mm. film.
BELOW, THE PROJECTOR
Model D. Suited to 50 ft.
throws. Uses 250 watt prefo-
cused lamp. Operates on either
AC or DC.
Regular Prices
Camera $57.50
Projector 98.00
Total $155.50
ABE COHEN'S
PRICE FOR BOTH
%
50
Here is one of the
greatest values ever to
be offered in automatic
cameras and projec-
tors. A handsome,
rugged, accurate DeVry
Automatic Movie Cam-
era— and a powerful
projector that present
beautifully clear, pro-
fessional quality pic-
tures. A special quan-
tity purchase by Abe
Cohen's makes possible
this sensationally low
price.
69
COMPLETE
AbeGohensExchange
120 FULTON ST. NEW YORK, N. Y.
DEALERS — Write in for special
proposition in your territory.
124
MARCH 1932
MAR
ik
CHINA
Coolies and Mandarins — Chinese
street-jugglers in Shanghai, the
Paris of the Orient, paradoxical
Japan with its shrines and tem-
ples and modernism — many other
far eastern subjects. Keep up to
date and project reels of current
interest.
$4.50 for 16mm., 100 foot reel $4.50
Send for descriptive Literature
EMPIRE SAFETY FILM CO.
723 Seventh Ave.
New York
You Need
A MOVIE MAKERS BINDER
Only $1.50
Binder Dept., MOVIE MAKERS
105 W. 40th St. New York City
ANY w^ FILM
PRINTED
16
mm.
GEO. W. COLBURN
Special Motion Picture Printing
7228 N. CLARK ST.
CHICAGO, ILLINOIS
MOTION PICTURE APPARATUS
BUILT, DESIGNED, REPAIRED
LENSES FITTED ON ALL CAMERAS
EXPERIMENTAL WORK
LOWEST RATES
D. DONCASTER
5-13 Borden Ave., L.
City
IRonside 6-8767
UNIVERSAL MODEL "BB
1932 VALUE— NEW DESIGN
No other 2-Button microphone can give such
superlative value for such a low price. Extra
large size. Extra rugged construction. Extra
excellence of performance. Built especially for
LIST PRICE Toice Pickup, public ad-
dress work and amateur
$25.00 broadcasts. 24 kt. pure
gold spot centers. Duralu-
min diaphragm. Frequency
range to WELL over 4000
cycles.
Guaranteed performance at
rock bottom price.
UNIVERSAL
MICROPHONE CO., Lid.
424 WARREN LANE
INGLEWOOD, CALIF.
U. S. A.
Stationery, Cards, Bookplates.
1 advertising, greeting cards etc.
Easy rules furnished. Complete
Outfits $8.85 up. Job Presses $11 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
catalog and all details. The Kelsey
Company, W-48, Me rid en. Conn.
ART TITLES 3'
20 Striking Styles
WORD
A border for every
occasion. Wed-
dings, Tropics ,
Winter, Children,
etc. Use one or
HHHHHHH without
charge. Free "The End" with each order.
Write at once for illustrated folder.
ART TITLE GUILDE
6208 N. LEAVITT ST. CHICAGO. ILL.
Foundation will be strictly noncommer-
cial, its entire income to be used for
further film production. Four other
officers, prominent Methodist ministers,
have also been elected by the Founda-
tion and eighteen heads of churches in
various parts of the country will serve
on its advisory board. The Life Of John
Wesley, the first film, will contain a
musical score of songs and hymns writ-
ten by Charles Wesley, brother of the
religious leader. The Rev. J. K. Shields,
who has written the scenario for many
religious films, prepared the scenario
for the Wesley film which has been ap-
proved for historical accuracy and hu-
man interest by leading scholars of
Methodism, it is reported. Following
the completion of this film, a subject on
the life of Francis Asbury is planned.
Other pictures will include short sub-
jects based on texts of the Scriptures,
talkies of sermons delivered by out-
standing ministers and films of home
and foreign missionary work. All films
will be approved by the advisory com-
mittee, it is said. ■ Using 16mm. motion
pictures to secure American support,
the McAll Mission of France in the next
six months will show to hundreds of
church congregations, Boy Scout groups
and similar organizations the film, Sun-
shine And Shadow In France, depicting
France as the tourist sees it, France as
it really is, views of the Colonial Expo-
sition and portraying the religious pro-
gram in the McAll Mission. The film
was produced on 16mm. by the Mission.
Welfare ■ Showing in an appealing,
natural manner the activi-
ties of a typical day at an experimental
camp for young boys, a one reel, 16mm.
film was taken last summer and recent-
ly titled and edited by Sherman A. Rut-
ter, A.C.L., who was in charge of the
camp on the Delaware in New Jersey.
F R F F FN KA ^ M These films, on 16, unless
llx" riuivij« 35mm_ is steciJied_ are
loaned free except for -payment of -postage. Re-
quests should be addressed, to the Amateur Cin-
ema League, Inc., 105 IV. 40th St., N. Y. C..
and films desired mentioned by titles. Requests,
on receipt, are forwarded to distributors who
get hi touch -with applicants and make booking
arrangements. Specific dates cannot be promised
until the applicant hears from the distributor.
Do not send postage with requests; when it is
required, the distributor will notify the appli-
cant. Of course, films should be returned post-
paid. Some films are limited to groups, in which
cases it is so stated in the reviews. In applying
for films limited to groups, the type and prob-
able size of the audience must be mentioned.
Films are not available outside of the United
States, unless so stated. Any amateur may applv
for films reviewed as this service is not limited
to Amateur Cinema League members.
■ The Story Of The Tire, one reel, 16
and 35mm., offered by courtesy of the
Goodyear Co., shows operations from
plantations, the source of the raw mate-
rials, through the manufacture of the
finished product.
■ Cane Sugar, a two reel 16 and 35mm.
subject from the Harvard Series, offered
through Films Of Commerce, Inc.,
traces the history of the sugar industry,
shows how the cane is raised in Cuba,
and how the raw sugar is refined and
prepared in various forms for use. The
film is constructed and titled in accord-
ance with standard educational prac-
tices and a teacher's aid pamphlet is
available upon request. This subject is
offered schools and other large groups.
■ Wizardry Of Wireless, two reels, 16
and 35mm., offered through the General
Electric Co., traces the history of signal
communication, showing the beacon
fire, smoke signal, heliograph, sema-
phore, electric telegraph and telephone.
By means of animated drawings, the
film explains the operation of the vac-
uum tube and other apparatus used in
radio transmission and reception. The
film is available to groups.
■ Fighting Snow, three reels, 16 and
35mm., reviewed through Ray Bell
Films, Inc., shows how Minnesota roads
are kept open during severe winters. It
contains some beautiful scenery and is
available to groups.
Movie portraiture
[Continued from page 102]
poses. One splendid movie portrait was
a study of two half grown brothers sit-
ting back to back on a window seat
reading, their knees drawn up and their
books resting on them.
When making a group picture in
which the central subject is seated, a
book is always helpful. But it is better
to suggest that a book is being looked
at rather than being read aloud, for
moving lips do not look well without
sound. Such group pictures can feature
grandmother or grandfather as well as
the children.
When family movie portrait making
is started, the studies can all be spliced
in one reel but, as the collection grows,
separate reels can be started for each
member of the family. If the scenes are
spliced together chronologically and
additions are consistently made, a fine
record of the individual will result.
Titles should include dates and, where
necessary, names also. However, the
information should be given in a well
worded complete sentence prepared
with just as much care as any other
title. The trite title, such as Bobby,
aged 9, June 3, 1931, should be avoided.
Do not forget to make a special reel
of the pet of the family, for studies of a
puppy, for example, made from infancy
to adult doghood will be an amusing
and valuable addition to the film library.
Friends are tolerantly amused or
bored by the antics of the family cavort-
ing around the screen, doing this or that,
but, when the portrait studies appear,
serious and quiet and lovely, there is
genuine appreciation and approval.
And if one wins that from long suffering
friends the effort has not been in vain.
MOVIE MAKERS
125
The clinic
[Continued from page 106]
substituted for green in landscapes with
good results. Procure a small saucer
and pour in about one ounce of clear
water. Four of any of the perforated
color sections of the book will give a
sufficient color strength to the water. A
larger bowl of clear water and a clean
linen towel are the only other acces-
sories needed. Now, take your beauti-
ful "panoram" of Lake Louise, a favor-
ite view of the ocean or whatever other
appropriate scene you have for the color
you have dissolved. Begin to work the
film strip slowly through the solution,
■Hi Mil 1
i-mI
II
■til* J
^^m 4-^
H ^m
How Boston dentist
uses movies in his
work with children
drawing it back and forth about a foot
at a time. Be sure to keep the surface of
the film always under the solution.
When it has reached the desired shade,
pass it through the rinse water; then
dry it gently on the linen cloth. Do not
reroll immediately, but allow the film to
dry thoroughly first. With a little in-
genuity, surprising color reactions may
be had. I have, in my collection,
snow scenes tinted a light blue; camp-
fires showing in brilliant red; the dusty
byroad with a warm, brown tinge and
many others. — Louis Och, Jr.
64V. lamp increase ■ Accord-
ing to au-
thentic information received from the
source of supply, the use of the 64 volt,
100 watt lamp has become widespread
as an aid to indoor movies in the short
space of time since its introduction in
December. The remarkable attribute of
this lamp is that it provides a relatively
great photographic illumination at a
power rating of only 100 watts. It does
this by virtue of the fact that it burns
at a voltage of almost twice the value of
its rating, a process which shortens the
lamp life, though not to a sufficient ex-
tent to make it impractical for movies.
With one or two of these lamps, prefer-
ably in suitable reflectors and with
supersensitive film, fully lighted interior
exposures may be obtained even at //3.5.
The outstanding advantages of the 64
volt lamp are low cost (forty cents
each!), relatively low wattage (so that
there is no danger of blowing fuses),
greatly increased actinic light and abil-
ity to burn in any position.
Elements of editing
[Continued from page 99]
pressure almost as soon as it has been
brought down on the splice. This ap-
pears to work in many cases but is not
conducive to good splicing.
These mechanical problems must be
solved before the attempt to edit can be
started, since, unless the mechanical re-
quirements can be effected in a proper
manner, editing itself will be defeated.
This process dictates that first the
scenes must be cut apart and spliced
together in their proper order. Many
amateurs go so far as to cut each scene
and title apart, roll it up and place it
on a table in its proper order as it will
appear in the completed reel. It be-
comes, then, a simple matter to take
each roll, one at a time, and splice all
the scenes and titles in their proper se-
quence. When this has been completed,
the reel is ready for projection. There
will always be blank frames in a film
where the camera was stopped, even
blank strips caused by one of several
things. Perhaps a scene is faulty in ex-
posure or action. All this must come
out. The amateur must learn to be ruth-
less in this respect. Cut out every inch
of film that is not perfect in every way.
Again, it is always wise to expose more
film on a scene than will be needed, for,
in that case, the length can be trimmed
down, whereas, if a scene is too short, it
is lost, for nothing can be done to
lengthen it; hence it often must be dis-
carded completely. Editing, then, is
merely adding to the camera work, help-
ing it to achieve perfection on the
screen. After thinking it over, the ama-
teur can readily realize its importance
for, unless care is exercised in all activi-
ties of cine work, the results will be dis-
appointing not only to the amateur but
his audience as well.
Here we have discussed only a few
of the mechanical considerations to-
gether with a few of the major items in
editing. If the amateur will only master
these matters, he will be on the road to
better pictures.
35 mm. news-
reel camera
Model E
projector
Q A \/ C UP C fi 0/ Standard Equipment,
unit to UU/o Films and Accessories
BRAND NEW MERCHANDISE
DE VRY SPECIALS PATH EX
CT\' Our Gang. <M
ou Lloyd Comedies «P '
& Scenics.
Super- Reel Subjects
Reg. $9. 50. Special $5.85
Raw Film, 9"2mm. 1.49
100' 16 mm. Panchro-
matic Raw Film J4 35
FREE LIST
Call or write for details
NEW 16MM. Library Subjects. 2c. foot
400' SOUND FEATURE (with disc) $14.49
WE CONVERT SILENT TO SOUND
MOGULL BROS., 1944 Boston Rd., N.Y.C.
Always get our lower prices
$89.50
$149.75
Sell c Howell 70A
$65
Camera (with
case)
400' B & H Reels. 48c
33 1-3 & 78 motor.
turntable & switch $15.75
Audack Arm, $11.75
EXPERT TITLING AND EDIT-
ING WILL IMPROVE THE
BEST FILMS AND REDEEM
THE WORST!
10 years of professional experi-
ence qualify us to . . .
Produce titles — crisp, sparkling,
artistic!
Write titles — terse, graphic, com-
pelling!
Edit your "shots" into a finished
production — not just another roll
of films.
Titles of ten words or less, 25c.
Backgrounds and borders free!
PARAMOUNT
EDITING and TITLING
BUREAU
1266 Boylston St., Boston, Mass.
Professional Service For The Amateur
LITTLE ORPHANT ANNIE
Colleen Moore's Biggest Hit
ABRAHAM LINCOLN
with Frank McGlynn
F. C. PICTURES CORPN.
265 Franklin St., Buffalo, N. Y.
New DeVRY 16mm. Projectors
Model D, $48 Value $15.00
Model C, $98.50 Value 35.00
DeVry Cameras, $57.50 Value 27.00
Home Talkie Units, $49 Value 19.50
Shipped C. O. D. on 25% Deposit
FARRELL & BUCKMAN
364 Canal St.
New York
CANADIAN MOVIE MAKERS
NEW TITLE SERVICE
PLAIN AND ART TITLES FROM 25c UP
Stock backgrounds, or backgrounds made from your
own stills. Send for prices and samples. RAPID
SERVICE with no customs duties. Complete edit-
ing service.
GORDON R. LOCKHART
29 RICHMOND W..
TORONTO. ONT.
New Low Prices on Exchange 4
16mm. Library Films 4
500 Subjects
including complete assortment of ^
oriental films J
Send for revised up to date list. >
Manhattan Film Rental Library >
5115 18th Ave. Brooklyn, N. Y. "
Do your guests ask to see your pictures
or do you just bring them out?
Try TITLES in some and note difference
ASK FOR SAMPLE AND PRICE-LIST
C. HAILE & SONS
215 WALNUT ST.
CINCINNATI, O
■□ma QiB a bb bo ao a a.pia.HWBiaj
MOVIE MAKERS
126
SWAB' Closeups — What amateurs are doing
vni id a I °
YOUR
LIBRARY FILMS
Fair exchange is no robbery. Send your
old film, plus $1.50 and return postage,
for one of the many interesting sub-
jects available at Navilio's.
NAVILIO FILM RENTAL LIBRARY
To Members
5 to 9 reel feature $1.50 a day
Send for membership blank
Dealers: Write for interesting otter
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N.Y.
MOTO GRAPH ERfvfS
From YOUR FILM
Vivid, interesting, a true movie.
Operated like flipping pages of a
book. Send direct or . through
dealer your pet 4 ft. of 16mm film
and receive two leather-bound Mo-
tographs for $7.50. Guaranteed.
PHELPSFILMS, INC.
New Haven, Conn.
Make More Money
'" PHOTOGRAPHY
BIG OPPORTUNITIES
Interesting work, splendid demand every-
where for men and women. No previous
experience needed. Expert instructors
prepare you for the branch you like best —
at home in spare time or in our great
New York studios.
Send for FREE Book
It tells all about the varied opportunities.
Check which interests you most :
□ Motion picture photography and projection
□ Still photography (portrait, commer-
cial, news) and photo-finishing.
WRITE TODAY.
NEW YORK INSTITUTE OF PHOTOGRAPHY
Dept. 105 10 West 33rd St., New York, N. Y.
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBCPAMMERCAU Staoi PLAY-
RELIGIOUS -INSPIRING -EDUCATIONAL
5 REELS ~ 2000 FT. ~ 16 M/V\.
(COMPLETE STORV ) Price $150.00
BUy OR RENT EROM DEALER OR DIRECT FROM
rmiraEEEB^mi
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Caso Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
IDTEHS,
Fvqj Scons- DitfcorifV-
cAste Ljoup dealep, ot tonte to
GEORGE H.SCHEIBE
PHOTO-FILTER SPECIALIST
JAMES W. MOORE
■ Mahatma Gandhi, regarded as one of
the most difficult men in public life to
photograph, was filmed in both 16 and
35mm. movies during the course of his
trip to London, according to a recent re-
port from the Bell & Howell Company.
Terrified by the turret headed cameras,
at the first closeup he exclaimed,
"You're torturing me!" but before the
trip was done he was asking to see them.
Gandhi sits for a Filmo
■ What might be called a mutual movie
party is the contribution of Duncan
MacD. Little. A.C.L., of New York City,
to the growing list of social possibilities
of amateur films. Mr. and Mrs. Little
recently offered their "third annual"
movie show to friends. The first of these
was made up of the host's pictures, the
second had some from the guests and
the last was built up from films which
each guest brought with him. Mr. Little
had to provide only a total of twelve
minutes from his own well stocked li-
brary. Regularly numbered seats with
tickets to match, charming young lady
ushers, a "house manager" and, for the
photoplay which climaxed the program,
souvenirs in the best professional "ex-
ploitation" style enhanced the plan of
the evening. Excellent films were
shown. About thirty amateurs — camera-
men, directors and actors — were guests.
• A friendly filmer of other people's
children, Miss Ellen B. Steele, A.C.L.,
Germantown, Pa., has discovered a de-
lightful use for her six years of cine
skill. Feeling that among her friends
and acquaintances there were many who
eventually will be taking their own pic-
tures, Miss Steele entered the field to
record those precious scenes of their
earlier (and leaner) years. Another
happy coup d'etat was a secretly edited
reel of random and informal shots of
college classmates, made over a period
of five years, which was screened at a
recent reunion with hilarious success.
■ Discretion appears the better part of
wisdom in buying cine accessories, judg-
ing from a report by Walter Winchell.
It seems that Rudy Vallee, A.C.L., New
York City, needed a camera "truck" for
follow shots. Impressed by their fine
balloon tires, he purchased a de luxe
baby carriage to serve as the "truck."
The purchase got the spotlight and . . .
well, you can imagine the rest!
H Distinguished by a splendid pictorial
sequence of "the silver horde," that
amazing periodic phenomenon when
smelt by the thousands seem to burst
the waters of Oregon rivers, Finny Lore,
400 ft., 16mm., is an attractive and well
planned film of fishing in the Northwest,
made by Edward J. Schon, A.C.L.,
Portland. Oregon. More than once in
the film the ingenious cameraman has
completed his continuity by cutting in
brief, finny closeups shot in an aqua-
rium, rather than at the actual scene,
an editing device which often recom-
mends itself for use with other subjects.
B Living for twenty five years in Haw-
thorne's "House of Seven Gables,"
where she first became a photographic
addict. Miss Henrietta F. Upton, Salem,
Mass., is an amateur photographer of
more than forty years' experience and,
in a delightful letter, writes League
headquarters of the early days: "My
first camera was a tiny box affair, paste-
board, I should say; I sent a dollar to
some magazine for it. I don't remember
any lens in connection with it and it
had no finder, but the little plate nega-
tives— which I developed by the light
of a japanned tin lantern with a red
glass front and a candle inside — were
In the House of Seven Cables
fairly good. ... It was not until I took a
trip to Jamaica a few years ago that I
became interested in movies. A fellow
townsman on the boat had a cine
camera. The little prints from my still
camera looked so insignificant, when
compared with the marvelous screen
pictures he showed us on reaching home,
that I decided to buy a camera and pro-
jector if I had to pawn the car. . . . Hit
or miss, I enjoy every minute of it."
MOVIE MAKERS
127
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Carry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Phoenix: Studio of Sound, 812 E. Washington St.
Tucson: T. Ed. Litt, Cor. Congress & Stone.
ARKANSAS
Texarkana: H. V. Beasley Co., 200 E. Broad St
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink i£ Son, Shattuck & Kittredge.
Fkesno: Potter Drug Co., 1112 Fulton Ave.
Shaver Lake Photo Shop, 910 Arthur Ave.
Giendale: Cine-Electric & Optical Studio, 163 S.
Central Ave.
Kug-Art Photo Service, 507 W. Colorado
Blvd.
Mowry's Photo Service, 223 S. Brand Blvd.
Hollywood: Bell & Howell Co., 716 N. Lalirea
Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citi2en. 6366 Hollywood Blvd.
Hollywood Film Enterprises, Inc., 6058 Sun-
set Blvd.
Strashurg's of Hollywood, 6730 Hollywood
Blvd.
Long Beach: Wier's Photo Shop, 142 Pine
Ave.
Winstead Bros. Inc., 244 Pine Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 129 W. Sec-
ond St., American Bank Bldg:.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
Schwabacher-Frey Stationery Co., 734 S.
Broadway.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St
F. W. Reed Co., 176 E. Colorado St.
Riverside: F. W. Twogood, 700 Main St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Eastman Kodak Stores, Inc..
216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
Westwood Cinema Studios, 1608 Ocean Ave.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Pedro: Sunset Photo Supply, Inc . 319 W
6th St.
San Rafael: Webb & Rogers, 4th and B. Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: J. W. Collinge, 1127 State St.
Tri Counties Electric Supply Co., 27 Parker
Way.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaauin
St.
Peffer Music Co., 40 S. California St.
Ventura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop, 404 Sixteenth St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Greenwich: Gayle A. Foster, 9 Perryridge R.-l.
Hartford: Harrison Harries, 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
Naugatuck: Leary's Drug Store, 217 Church St.
\tew Haven: Fritz & Hawley, Inc., 816 Chapel
St.
Harvey & Lewis Co., 849 Chapel St.
Morwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co., 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
Miami: Miami Photo Supply Co., 12 N. E. First
Ave.
Tropical Camera Stores, Inc., 123 Second St..
. N. E.
Miami Beach: Cox Studios, Roney Plaza Hotel.
J. R. Willis, 737 Lincoln Road.
Palm Beach: Robison's Camera Shop, 206 Royal
Palm Way.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Hoise: Ballou-Latimer Co., Idaho at 9th St.
ILLINOIS
Chicago: BASS CAMERA CO., INC., 179 W.
Madison St.
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
1645 Orrington Ave.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The. Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
W. W. Kimball Co., Motion Picture Dept..
31 E. Jackson Blvd.
Lyon & Healy, Inc., Jackson Blvd. & Wabash
Ave.
Norman-Willets Co., 318 Washington St.
Post Office News Co., 37 W. Monroe St.
Seamans. Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Von I.engerke & Antoine, 33 S. Wabash Ave.
Wolk Camera Co.. Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 10S N. Vermillion
St.
Evanston: Aimer Coe & Co.. 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort' Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd and Jefferson
St.
Carroll: Rexall Store, 120 W. 5th St.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 803
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing, Inc., 419 Pierce St.
Waterloo: Macks Photo Shop, 225 W. Fifth St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp-Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: James W. Brine Co., 92 Summer St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co.. 56 Bromfield St.
Brockton: Iris Pharmacv, 230 Park Blvd.
Raymond C. Lake, 21S Main St.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
1'ittsfield: E. C. Kilian. 411 North St.
Salem: Pitman Homovie Service, 45 Summit
Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff. Inc.. 301
Bridge St.
Harvey & Lewis Co.. 1503 Main St.
C. Rogers & Co., 1245 Main St.
Tewksbury: Mark J. McCann, 23 North St.
Worcester: T- C. Freeman & Co.. 376 Main St.
L. B. Wlv-aSnii. 3fi* Mvn St
(Continued on i>age 128)
128
MARCH 1932
(Continued from page 127 )
MICHIGAN
Bay City: Bay City Hdw. Co., Sporting Goods
Dept., 1009-15 Saginaw St.
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner St Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Lamed St.
J. L. Hudson Co., Dept. 290.
Metropolitan Motion Picture Co., 2310 Cass
Ave.
E. B. Meyrowitz, Inc.. 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Jackson Ave..
W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Vans Cine Service, 600 Prudden Bldg.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Co-operative Photo Supply Co., 381-3
Minnesota St.
Eastman Kodak Stores Co., Kodak Bldg., 91
E. Sixtli St.
E. B. Meyrowitz. Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O.
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artist's Photo Service, 19 Fourth St.
Maplewood: John H. Osmun, 174 Maplewood
Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Passaic: Rutblatt's Sport Shop, 38 Lexington
Ave.
1'aterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfield: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Summit: Eastman Bookshop. 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
Vineland: Robbins Photo Service, Inc., 615
Landis Ave.
West Englewood: C. M. Vanderbilt, Inc., 374
Briarcliffo Rd.
West New York: Rembrandt Studio, 462 Ber-
genline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co., 465 Broad*-,.
P.inghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Corning: Ecker Drug Store, 47 E. Market St.
at Cedar.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Home Movies, 30 Dvision Street.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 173 E. 60th St.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
ABE COHEN'S CAMERA EXCHANGE, 120
Fulton St.
COLUMBUS PHOTO SUPPLY, 146 Colum-
bus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
FILM FEATURETTES, INC., 130 W. 46th St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Gloeckner & Newby Co.. 9 Church St.
HERBERT & HUESGEN CO., 18 E. 42nd
St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician, Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
Lama Camera Service, Inc., 302 W. 34th St.
Marcus Photo Service, 1170 St. Nicholas Ave.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co.. 122 Cedar St.
E. B. Meyrowitz, Inc., 520 Fifth Ave.
MOGULL BROS., 1944 Boston Rd.
New York Camera Exchange, 109 Fulton St.
V. Nomi, 174 W. 95th St.
Parker and Battersby, 146 W. 42nd St.
Rab Sons, 1373 Sixth Ave.
Regent Camera & Film Exchange, 368 Lex-
ington Ave.
G. Tankus, 837 Seventh Ave.
WILLOUGHBYS, 110 W. 32nd St.
Pelham: Kolf & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley. Lindsay & Curr Co., Camera Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Alex. Grants Sons, 119 E. Washington
St.
Francis Hendricks Co., Inc., 339 S. Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Vonkers W. J. Dolega, 242 Nepperhan Ave.
Joseph F. Blatzheim, 4-6 Riverdale Ave.
NORTH CAROLINA
Charlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard.
Canton: Roth & Hug Co., 539 N. Market Ave.
Ralph W. Young, 139 Cleveland Ave., S. W.
Cincinnati; Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 41654 Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Public Square.
Home Movies Co., 1501-7 Superior Ave.
Lyon & Healy, Inc., 1226 Huron Rd. at
Euclid Ave.
Columbus: Capitol Camera Co.. 7 E. Gay St.
Columbus Photo Supply. 62 E. Gay St.
Don McAlister, 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams, 2028 E. Third St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: F. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Eugene: Stevenson's, Inc., 764 Willamette St.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept.
Meier & Frank Co., Kodak Dept., Fifth.
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lancaster: Darmstaetter's, 59 N. Queen St.
Lebanon: Harpel's, 757 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Home Movie Studio, 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fiftli
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware, Sporting Goods
Dept., 115 E. Independence St.
Goods Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Newport: Rugen Typewriter & Kodak Shop.
295-7 Thames St.
Pawtucket: Thomas N. Simpson, Broadway and
Exchango St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Jackson: Southern Pictures Corp.
Knoxviule: Jim Thompson Co., The "Snap
Shop," 415 W. Church Ave.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Crosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co., 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. Sin An-
tonio St.
Fort Worth: Chas. G. Lord Optical Co., 704
Main.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
Shiplers, 144 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
MOVIE MAKERS
129
Lowman & Hanford Co., 1514-3rd Ave.
Spokane: John \V. Graham & Co., Dept. 4,
707-11 Sprague Ave.
Joyner Drug: Co., Howard & Riverside Ave.
Wenatchee: Wheeler's Photo & Gift Shop, 33
N. Wenatchee Ave.
Yakima: Yakima Book & Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Charleston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Fond du Lac: Huber Bros., 36 S. Main St.
La Ckosse: Moen Photo Service, 313 Main St.
'Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 Milwaukee
St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosii: Coe Drug Co., 128 Main St.
Waukesha: Warren S. O'Brien Commercial
Studio, 353 Broadway.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Honolulu Piioto Supply Co., 1059
Fort Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cope Province
Capb Town: Kodak (South Africa) Ltd., "Ko-
dak House, "Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South A ustralia
Adelaide: Harringtons, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle
St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 43
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Agency, 179 Elizabeth St.
West A ustralia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
AUSTRIA
Vienna: Siegfried Wachtl, VII Neubaugasse 36.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News, Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Film & Slide Co. of Canada, Ltd., 156 King
St., W.
LOCKH ART'S CAMERA EXCHANGE, 29
Richmond St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave., at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St.,
W.
Film & Slide Co. of Canada, Ltd., 104 Drum-
mond Bldg.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHILE
Santiago: Casa Heffer, Calle Estado 242.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393 Nan-
king Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
CUBA
Havana: "La Bohemia" Bookstore, Neptune 2B.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam-
eras, Senovazuna, 8 and Narodni tr. 26.
DENMARK
Copenhagen K: Kongsbak and Colin, Nygade 2.
V : Kodak Aktieselskab, Ostergada.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Birmingham: Kodak, Ltd., 42 Corporation St.
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 22-23 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
Home's Camera Mart, 58 Old Broad St.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: 4. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1 : Westminster Photographic Exchange.
Ltd., 119 Victoria St.
Service Co., Ltd.. 289 High Holborn.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Sands, Hunter & Co., Ltd., 37
Bedford St., Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 New Bond St.,
4 Berkeley St., Piccadilly.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak Ltd., 32 Grainger
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, 1.
LeGrimoire, 182 Blvd., Berthier, XVII.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361, W.
Foto Schaap & Co.. Spui 8.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Gronnigen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi, 13-17 van Berchenstraat.
Capi, Broerstraat 48.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz, U-4.
INDIA
Ahmebabad: R. Tolat & Co., Bawa's St. Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
M. L. Mistry & Co., 46 Church Gate St., Fort.
Calcutta: Army & Navy Coop. Soc, Ltd., 41
Chowringhee St.
Photographic Stores & Agency Co., 154 Dhur-
amtolla St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Ar.onima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
-Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Fukada &. Co., 2 Chome Kitakyutaro
Machi, Higashiku.
Shueisha, 25, Kitahama 4 Chome. Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini, S. A., Av. Madero 34, Bell S.-
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman. Ltd.. 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworks, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster. Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S Neclre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine, 103'4 St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
Paisley: J. Lizars, 27 High St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Bilbao: Ignacio Amann, agent for Bell & Howell.
Colon de Larreategui 9.
Madrid: Kodak Socieclad Anonima, Puerta del
Sol. 4.
Avenida Conde Penalyer 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., -,5-3 High St.
SUMATRA
Medan : Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Friestrasse 74 (Sodeck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Winterthur: Alb. Hoster, Marktgasse 57.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co., Bahnofstr, 61.
VENEZUELA
Caracas: Edo. Vogeler & Co., Apartado 470.
Maracaibo: MacGregor & Co., Apartado Postal
No. 197.
Dealers Listed In Black Face Italics Are Advertisers In
$3 a year (Canada, $4.00,
Foreign, $3.50) ; 25c a copy
MOVIE MAKERS
105 West 40th Street
New York City
130
BUSTER'S BUST UP
NEWLYWED'S PEST
These two charmingly roguish children now appear in Kodascope Library Pictures that will please
additional thousands of juvenile and adult audiences.
Branch Libraries and Distributors in fifty-five of the leading cities of the United States and Canada
LIBRARY MEMBERSHIP NOT REQUIRED
But recommended because of extra advantages and economies afforded
REGENT REDUCTION IN RENTAL RATES
Non-members now rent at catalog rates. Members enjoy a 10% discount
NEW ILLUSTRATED DESCRIPTIVE CATALOG
FOURTH EDITION
contains many new subjects, drops many of the older ones and reduces rentals of many
others. 400 reels at average rental of less than 90c each! Average rental entire library
(nearly 900 reels) only $1.09 each. You can rent twenty to forty reels for the cost of
one !
ATTRACTIVE PROPOSITION
to Dealers who desire Profits from operation of their own
Film Rental Libraries. Our Experience and Resources as-
sure the Success of our Distributors. No risk. Send for
booklet How the Kodascope Library Brought Prosperity to
Our Store.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
HOLD YOUR BREATH
Christie Comedy featuring Walter Hiers, Joe Davidson, Tully Marshall and Dorothy Devore.
Dorothy is accused of the theft of a valuable bracelet and chases the real culprit — an organ grinder's monkey — up the front of a
skyscraper hotel, closely followed by the cops. Breathless suspense during this hair raising pursuit is relieved by humorous situations
which will convulse any audience.
Printed by W.N.U., New York
• classified « advertising « columns « at « ten * cents
u
2
IP*
e
2
A
I
I
T
H
e
9
9
©
a
A
ft
A
e
fell
•8
s
s
14
s
ft
EQUIPMENT FOR SALE
■ READY and waiting . . . Bass Bargaingram
No. 208. Nineteen pages crammed full of bar-
gains. Save money. A few offers from this
money saving list: new DeVry Model G pro-
jectors with cases at $45.00; new Risdon 16mm.
cameras, 3.5 lens at $22.50; Bell & Howell Filmo
70A with case and Cooke lens, $77.50; Victor
Model 3, regular and slow motion, with lens,
$65.00. Write or wire for your copy at once.
BASS CAMERA COMPANY, 179 \V. Madison
St., Chicago, 111.
■ CINE-KODAK A, f/1.9 lens, with 400 foot
magazines; one extra magazine; reverse takeup;
slow motion attachment; electric drive; tripod;
complete $450.00. BOX 133, MOVIE MAKERS.
■ HOME TALKIES. Complete equipment for
making your own talkies, including Western
electric microphone; amplifier; synchronous turn-
table, 33 1/3 and 80; pickup and recording
head; coupling attachment for 16mm. Cine-
Kodak A; $250.00. Any projector adapted to
above for synchronized projection, $25.00 ad-
ditional. BOX 133, MOVIE MAKERS.
■ 16 MM. Mod. C. Cine-Nizo, slightly used,
variable speeds, motor and hand cranks, focusing
directly on film, case and f/2 lens, $85. BUR-
LEIGH BROOKS, 127 W. 42nd St., N. Y. City.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
| DEVELOP and reverse your own 16mm.
films at less than % cost with our thoroughly
practical new formula and equipment. 100 foot
brass reel and tank with formula and instruc-
tions $39.00. Film $1.50 per hundred. Dupli-
cate prints from your films $4.00 per hundred.
Printing machines $68.00. R. B. ANNIS ELEC-
TRICAL APPARATUS, 1505 East Michigan
Street, Indianapolis, Indiana.
| FOR SALE my complete and slightly used
Bell & Howell Filmo outfit. Filmo camera, 70-
D-A, critical focuser, tan Mayfair B. case with
Cooke 1" //3.5 lens and Cooke 4" //4.5 tel-
ephoto lens and Cooke special 1" //1.8 Koda-
color lens. Complete cost, $436.00; sell for
$275.00. Filmo projector and case 57-G-3 com-
plete with Kodacolor assembly and extra lamp;
cost, $285.00; sell for $175.00. B. & H. char-
acter title writer; cost, $36.00; sell for $20.00.
New Thalhammer tripod with zipper carrying
case; cost, $39.00; sell for $25.00. B. & H.
Photometer and case; cost, $20.00; sell for
$12.00. B. & H. rewind; cost, $6.00; sell, $4.00.
New Da-Lite screen, tripod attached; cost,
$20.00; sell for $15.00. The above articles are
very late models and all in brand new condition.
Will sell any part separate or the complete out-
fit for $500.00 which originally cost $842.00.
Considering the excellent condition and late
makes, this is an extraordinary bargain. M. L.
MELETIO, 1724 17th St. N. W., Washington,
D. C.
■ EASTMAN'S PROJECTOR, 16mm. Koda-
scope B with Kodacolor filter assembly, thread-
ing light, case and extra lamp. Perfect used
condition. Cash price, $120.00. BEISTLE
COMPANY, Shippensburg, Pa.
■ BARGAIN — Model B Kodascope with Koda-
color; cost, $293; sell for $175. Model B Cine-
Kodak //1.9 lens with Kodacolor; cost, $176;
sell for $100. Both machines with cases. Like
new. Perfect mechanical condition. WM. BORR-
MANN, No. 1 Eller Ave., Buffalo, N. Y.
■ FILMOPHONE with projector; Model 3 Vic-
tor projector; Veritone sound-on-disc Unit; Re-
cordion turntable with projector, amplifier and
speaker; Home Talkie unit; other bargains.
Write for list and prices. BURTON HOLMES
LECTURES, INC., 7510 N. Ashland Ave., Chi-
cago, 111.
■ SACRIFICE — lea Kinamo camera and De-
Vry projector. Cost new over $300.00. Will
sell both camera and projector for $50.00 cash.
S. H. REYNOLDS, R. F. D. No. 3, Middle-
boro, Mass.
■ CLOSING OUT — Cameras and projectors,
new and used. Cine-Kodak B f/1.9 (used),
$75.00; Filmo 70 A //3.S (used), $72.00; Cine-
Kodak B //6.5 (used), $21.50; E. K. Koda-
color screen (new), $10.00; Ampro C (300 watt)
(new), $155.00; Victor Model 3 f/3.5 (the cam-
era and case are new), list $140.00, $95.00;
B. & H. character title writer (used), $5.00;
Victor Model 3 turret, //3.5 foe. mt. (new),
case, list, $195.00, $130.00; Kodascope B, 250
watt, bronze (new), $165.00, list $275.00; Ko-
dascope B, 250 watt, black (shopworn), $135.00;
B. & H. 57 A, 250 watt (new), $155.00; B. & H.
75 camera (case) new, $79.50; DeVry 35mm.
standard camera, //3.5, case (used), $77.50. All
guaranteed. Offered subject to prior sale.
CLASSIFIED
ADVERTISING
| All classified advertising copy will be care-
fully scrutinized but Movie Makers cannot be
held responsible for errors or statements made by
classified advertisers. Box numbers are -provided
by Movie Makers as a convenience to readers
and classified advertisers alike. Mail received
for these box numbers is forwarded by Movie
Makers miofened to the advertisers concerned.
Remittances , if any, to cover goods offered for
sale in this department should be made to the
advertiser and not to Movie Makers.
IT PULL
■ HOME TALKIE UNITS, attachable to 16-
mm. projectors, originally $49, now $19.50.
Shipped C. O. D. on 25% deposit. FARRELL
& BUCKMAN, 364 Canal Street. New York.
fl!6 MM. movie cameras and projectors. For
the home, school, church and business organiza-
tion. Literature free. D. F. ELDER & COM-
PANY, Dept. 15, Chelsea, Massachusetts.
■ SIMPLEX FADING GLASS will produce
fade in or fade out in your own movies. With
instructions and carrying case, $2.00. ERNEST
M. REYNOLDS, 165 E. 191st St., Cleveland,
Ohio.
■ LOWER PRICES and added features with
our quality negative positive process. Write to-
day for literature, samples, catalog of free
films, bargains in equipment. STRICKLAND
INDUSTRIAL FILM CORPORATION, Atlan-
ta, Georgia.
■ ONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOD CINEMA STUDIOS, 1608 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
■ NEW MODEL AC DeVry projector, value
$98.50, special $35. Shipped C. O. D. on 25%
deposit. FARRELL & BUCKMAN, 364 Canal
St., New York.
■ VICTOR MODEL 3 CAMERA, 1" //3.5
Velostigmat, $55.00; Agfa Movex 16mm. cam-
era, //3.5 lens, $32.50; Q. R. S. Model B 16mm.
camera and case, $10.00; Ensign Super Kinecam
turret front with //2.6 1" Cinar lens and case,
list $175.00, $105.00; Filmo projector, 200 watt
round base, $90.00; Kodascope Model B, 250
watt bulb, list $175.00, $90.00; Ampro Model B,
black finish, 250 watt, list $195.00, $115.00;
Filmo 57GG, 375 watt bulb, variable resistance
& ammeter, list $260.00, $170.00; Marshaloptic
daylight glass screen, list $60, $35.00; Hall-
dorson double arc light, list $65.00, $17.50;
2" //3.5 cine velostigmat lens in focusing mount,
$15.00; 6" //4.5 Wollensak telephoto lens,
$35.00; Toneograph 16mm. projector with turn-
table, complete in case with motor, list $175,
$40.00; Pacent portable 16mm. sound on disc
outfit, complete with speaker and amplifier, list
$270.00, $175.00. WILLOUGHBYS, 110 West
32d St., N. Y.
EQUIPMENT WANTED
9 WANTED — 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
TRADING OFFERS
■ TARGET pistols, shotguns and good fire-
arms accepted in trade on motion picture and
photographic equipment. Good allowances for
your used movie equipment on the new JL Filmo
projector, Eastman Model K, etc. NATIONAL
CAMERA EXCHANGE, 5 South 5th Street,
Minneapolis, Minn.
FILMS WANTED
B WILL BUY library 16mm. film. Give com-
plete information as to subjects, condition and
price. BOX 134, MOVIE MAKERS.
■ WANTED — 16mm. religious subjects. State
title, length, condition, and lowest price. BOX
132, MOVIE MAKERS.
In the advertisement of H . B. Kay, 145 Je-
rome Street, Brooklyn, N. Y., Classified Sec-
tion, February issue {Page 82), the numerals,
1032, were inserted, in error for the -pro-per fig-
ures, 1932.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE. EXCHANGE PRICES:
400' reel, $1.00; 200' reel, .50; 100' reel, .25.
On the 100' and 200' reels add return postage.
EVERY REEL SENT OUT CARRIES A
GUARANTEE OF 100% SATISFACTION.
QUALITY HAS NO SUBSTITUTE. CINE
CLASSIC LIBRARY, 1041 Jefferson Ave.,
Brooklyn, N. Y.
FILMS FOR RENTAL OR SALE
■ SELECTED 16mm. 100 ft. new films, $3.75.
Send for list. Art reels our specialty. LIN-
COLN PHOTO SERVICE, 1136 Lincoln Ave.,
Utica, N. Y.
■ CRISTUS, the best motion picture version of
the life of Christ. In seven parts, $200.00.
Other films. Direct or through your dealer.
ARC FILM CO., 630 9th Ave., New York City.
■ PIXY PICTURES, 16mm. short subjects (25
feet) complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
■ THE YORKTOWN PAGEANT 400' of
carefully edited and titled 16mm. film, depict-
ing this historical celebration in all its immensi-
ty. Price, $25.00, complete with reel and can.
Should be in every movie makers' library. G. L.
HALL OPTICAL CO., 257 Granby St., Norfolk,
Va.
■ AT REDUCED PRICE. New 16mm. films.
Felix and other cartoons, etc. These are brand
new reels at $3.75 per hundred feet. Send for
list. WM. L. LEHLE, 514 Park Avenue, Wil-
mette, 111.
■ SEND FOR FREE LIST of our lllini Home
Movie Rental Library for members or nonmem-
bers within a 1000 mile radius. ILLINOIS
CAMERA SHOP, Galesburg, Illinois.
■ LIKE NEW — Felix, Krazy Kat, Mickey
Mouse, etc., cartoons. Full length subjects, 250
to 315 ft., $7.00. 100 ft. subjects, $2.50. Rush
your order before supply is exhausted. H. B.
KAY, 145 Jerome Street, Brooklyn, N. Y.
■ 16mm. PICTURES, $3.65. Keystone cam-
eras, $12.50; projectors, $6.50. Tripods, splicers,
screens, panchromatic film, 20% discount. Titles.
LORENZ FILM PRODUCTIONS, Madison, In-
diana.
■ 16mm. CHAPLIN, MIX, FAIRBANKS films,
$.75 each. Home Talkie unit, $15.00. 100 ft.
panchromatic reversible films, $4.50. Supersen-
sitive, $6.00. Free bargain lists. HOME
MOVIE SERVICE, Box 32, Easton, Pa.
■ FOR MOVIE FOLKS — 400 ft. 16mm. come-
dies, cartoons, etc., $12.00; sale, 100 ft. 16mm.
odd photoplays, $3.00; 400 ft. (state prefer-
ence), $1.50; exchange 100 ft., $.50. Bargains
on 16mm. and 35mm. talking outfits, projectors,
cameras, supplies, film rentals (club plan). Com-
plete movie services at CHAPMAN SALES &
SERVICE CO., INC., 56 Godwin Ave. TEL.
RIDGEWOOD 6-2344., Ridgewood, N. J.
■ 16mm. FILMS BOUGHT, sold, exchanged.
A number of very fine subjects in 400 and 800
feet. Western, travel, comedy, in new condi-
tion; prices and list on application. PERSONAL
FILM EXCHANGE, 3537 West Madison St.,
Chicago, III.
■ SURFBOARDING! On The Waves At Wai-
kiki; 150 ft., 16mm., price $9.75. Featuring
Nighthawk, king of dog surfboard riders. GUY
D. HASELTON, Christie Hotel Bldg., Holly-
wood.
PERSONAL OPPORTUNITIES
(flMAKE your camera yield a profit instead of
costing you money. Want extra money? Earn
spendid income with your camera right where
you live taking photographs for newspapers and
magazines. A fascinating money making spare
time occupation, easily learned at homel Pos-
sible to earn full price of course while learning.
Write today for free book. UNIVERSAL PHO-
TOGRAPHERS, Dept. 3, 10 West 33rd Street,
New York.
MISCELLANEOUS
■ FREE — Trick main titles and endings. Send
us your copy for estimate and proposition.
HUNTER, 921 Edgewood Road, Elizabeth, N. J.
H ANIMATED TITLES will add inestimable
value to your films. We have the equipment,
skill and experience necessary to produce these.
Ask for our descriptive sheets and samples.
A. G. MERRIMAN, Member A. C. L., 11004
Ashbury Ave., Cleveland, Ohio.
0
-
V
x
X
€
CM
dollars * through * the « classified « advertising < page «
If you're no longer satisfied
with passable results...
See this last word in
Hastman equipment
that makes finer \ more
varied movies... projects
them with extra bril-
liance, added beauty.
IUPPOSE you said to your dealer:
"I want to make all sorts of
movies. Telephotos, wide
angle shots, Kodacolor. Indoor
shots as well as those outdoors.
But I want to be sure those movies
will be uniformly good. Movies of
which I can well be proud.
"Then, I want a projector capable
of showing those movies with the
brilliance, beauty and smoothness
they'll deserve. A projector that
will function perfectly without at-
tention during the show."
Your dealer would have exactly
what you wanted... in Cine-Kodak
K andKodascope K. Instant inter-
changeability of lenses, built-in
winding crank, two finders — make
Cine-Kodak K a movie camera
that is ready to take brilliant pic-
tures under all conditions.
And the extra illumination,
readily accessible controls, im-
proved cooling system of Koda-
scope K bring theatre-like bril-
liance, smoother, more convenient
operation to the showing of your
pictures.
See these companion "K's" at your
Cine-Kodak dealer's.
CINE-KODAK, MODEL K
i. Half-speed at the press of a button.
2. F.3.5,/.i.9, Wide Angle, Telephoto
lenses, instantly interchangeable.
3. Adaptable for making Kodacolor.
4. Winding crank permanently at-
tached and always ready for use.
5. Two finders — one for eye-level, the
other for waist-height use.
6. Easy to carry and use because of
light weight and convenient shape.
7. With /.i. 9 lens, $150; with /.3-5
lens, $110; including case.
KODASCOPE, MODEL K
1. Improved optical system, special
260-watt lamp.
2. Receptacle for plugging in room
lamp so that when Kodascope lamp
switch is on, the room light is off.
3. Controls readily accessibleonpanel.
4. Interchangeable lens mount.
5. Illuminated ammeter supplied
as standard equipment.
6. Hinged door on lamphouse for easy
cleaning of lamp and condenser.
7. Price, $ 160. With carrying case, $ 175.
EASTMAN KODAK COMPANY, Rochester, new York
I
Magazine of the Amateur Cinema Leas|ne, ■■■«
APRIL 1932
D
iffieult shotn made easy with Agfa
JL HOSE party shots ... or brilliantly lighted
streets at night ... or that scene in the rain.
Difficult, perhaps, but they do add fun and inter-
est to your movie rolls. Don't omit them because
they seem impossible. Load your camera with
Agfa Supersensitive Pan and get them all.
Agfa Supersensitive Pan is designed to give
good movies indoors and out, day or night, sun-
shine or rain. It is "the fastest reversible film
made" and has remarkable latitude that safe-
guards the difficult shot against underexposure
or overexposure. Your movies are more brilliant
— full of snap. And, most important of all, they
are clearer.
Just remember that Agfa Supersensitive Pan-
chromatic Cine Film will give surer movies under
the most amazing range of light conditions. Your
dealer has it — at $7.50 for the 100-foot roll, and
$4.00 for the 50-foot roll.
16 mm.
Reversible
Supersensitive Panchromatic
CINE FILM
For 16 mm. movie cameras
il
WWM QJBQSRn l=IWM!!ijyi*fci»15M TBI "'-■"*
BRANCHES: CHICAGO DETROIT KANSAS CITY LOS ANGELES SAN FRANCISCO BOSTON TORONTO, CANADA
135
RCA Victor
HOME TALKIES
are here!
THIS new masterpiece of RADIO HEADQUARTERS not only
runs the familiar sound-on-disc films, of which there is already a
large, popular library available, but it will also run the silent films, in-
cluding your own home-made movies. In addition, it projects and plays
the wonderful new SOUND ON FILM, the logical, most convenient
type of Sound Movie— proven to be the most practical in the theatres.
With Sound on Film there's no fuss about getting
the sound in step with the picture — no possibility of
getting the wrong sound record combined with the
picture — no needles to change — no pick-up arm to
adjust. "When you put in the reel of sound film, you
have done all that is necessary. The sound is per-
manently synchronized right on the edge of the film
itself. You can stop the film anywhere and start it
again anywhere — always getting perfect sound syn-
chronization with the picture.
Sound Movies in Home Comfort
Now you can have real professional Sound Movies
right in your own home — with the same high quality
RCA PHOTOPHONE DIVISION
RCA Victor Company, Inc,
A Radio Corporation of America Subsidiary
Camden, N. J.
sound and sight reproduction found in the best
theatres. And this equipment is PORTABLE. You
can pick up two compact carrying cases and surprise
your friends by a performance right in THEIR home
at a moment's notice. Just plug the connection cord
into any convenient 110-volt A. C. outlet, and you are
ready to go on with the show. A High Class Ampli-
fier is built into the projector, and a powerful Dynamic
Loudspeaker is included with this equipment.
REMEMBER — all 16 mm types of Silent Films,
Sound-on-Disc Films, and the NEW SOUND ON
FILM can be played on this equipment, and all at the
price of the usual single purpose machine! Complete,
ready to operate. Send for Descriptive Booklet.
RCA PHOTOPHONE DIVISION
RCA Victor Company, Inc.
Camden, N.J.
Please send me literature and complete informa-
tion on your new "HOME TALKIES."
PHOTOPHONE
TRADE MARKS RKG. U. S. PAT. OFF.
136
The Outstanding Value in I6MM. Cameras
ENSIGN
SUPER-KINECAM
Note the very
many desirable
features and
know why the En-
sign Super-Kine-
cam is fast becom-
ing one of the
most popular
cameras in the
16mm. field.
i Triple revolving turrent head, taking any
combination of three lenses.
i Multi-speed mechanism control, giving
speeds of 8- 12- 16- 32 and 64 pictures per
second.
i A tri-optic synchronizing viewfinder, in-
stantly adjustable to the focus of any lens,
fitted with supplementary viewfinder lens,
giving accurate angular correction for
closeup shots.
1 Double claw movement with automatic
pressure variation on gate at different
speeds.
Double spring, graphite-packed motor, giv-
ing a full minimum run of 35 feet of film
in one winding.
Hand crank in addition to spring drive.
Highgrade Cinar anastigmat lens //2.6, 1"
focus fitted to camera gives irreproachable
definition, covering power and illumina-
tion.
Exposure table fitted to side of camera.
Body of one single die-casting with separate
die-cast mechanism chamber, outside fin-
ish chromium-plate and crystalline enamel.
Furnished with handsome, genuine, leather,
velvet-lined case, with room for telephoto
lenses, four rolls of film and other acces-
sories.
PRICE
$
175
.00
Reverse attach-
ment may be
fitted so film can
be rewound for
lap dissolves or
double exposure
work at addition-
al cost of $20.00.
WILLOUGHBYS
110 WEST 32nd STREET, NEW YORK CITY
w
ILLO
GRAMS
16 iWhA. RELEASES
100 FT. LENGTHS
Here are pictures of
real interest for home
use, that will appeal to
youngsters and adults.
One-two and three subjects on a reel.
*3.75
PRICE PER REEL
1 Boys, Dog Sled Race
The Rodeo
2 World's Tiniest Railroad
" Wild West Show
3 Racing Whippets
Aerial Dare Devils
4 Monkey Shines
When Winter Comes
5 The Living Corpse
What a Man
g Alligator Wrestling
The Water Rodeo
Meet Matilda
7 The Lion Hunt
Horse Sense
g Kids & Pups
Turtle Riding
Big & Little
9 A Daughter of the Wild
] 0 Speed Demons
| ] Daring Feats
"12 Lessons in Golf by Sarazen
] 3 Lessons in Tennis by Tilden
Illustrated list on request
100 ft. release of Olympic
Winter Sports $5.75
400 ft. release of Olympic
Winter Sports $17.50
WILLOUGHBYS
110 West 32nd Street, N. Y.
©CI
137
B 149490
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
ContCntS Volume Vir April, 1932 Number4
Cover design Ludwig Bemelmans
His work is done, editorial 145
Art title background 146
Achieving effects Russell C. Holslag 147
For flying filmers Robert A. Smith 148
Deep sea filming indoors B. Wetzler 149
Amateur clubs Arthur L. Gale 150
The clinic Russell C. Holslag 151
Visualizing the thrills of fishing : Paul D. Hugon 152
Movies versus animated snapshots F. R. Knight, Jr. 153
Educational films Louis Miller Bailey 154
The camera angle Paul Thorndike 155
News of the industry 156
Sailing south Leslie Fairchild 157
Gas welding in Kodacolor Charles J. Carbonaro 160
How to plan a social welfare film Arthur L. Gale 162
Film fights hay fever Herbert J. Rinkel, M. D. 166
Publication reviews 167
Featured releases 170
Plots for odd shots Carl P. Andree 173
Free films 174
Around the world with Movie Makers 178, 180, 181
Closeups James W. Moore 179
Editor
JOHN BEARDSLEE CARRIGAN
MOVIE MAKERS is published monthly in New York,
N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign
$3.50) ; to members of the Amateur Cinema League, Inc., $2.00 a year,
postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August
3, 1927, at the Post Office at New York, N. Y., under the Act of
March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and
Publication office: 105 West 40th Street, New York, N. Y.
Telephone PEnnsylvania 6-6836. Advertising rates on application.
Forms close on 10th of preceding month.
KATHERINE L. NOONE Advertising Manager
ARTHUR L. GALE Continuity and Club Editor
RUSSELL C. HOLSLAG Technical Editor
LOUIS M. BAILEY Editorial Assistant
ALEXANDER de CANEDO Art Editor
From exhibition of Photo Patterns by Thurman Rotan at New York Art Center from April 4th to 16th
138
APRIL 1932
Extraordinary
MOVIE MAKERS
139
News
for all Movie Makers!
General Electric
announces
THE MAZDA PHOTOFLOOD LAMP
Of mazing new lamp enables you to make sparklincj, clean-cut
movies indoors as easily as outdoors. .ana almost as inexpensively
THIS HANDY NEW MAZDA PHOTO-
FLOOD LAMP developed by General
Electric operates in any standard home lighting
socket on ordinary 110 volt house current. It
gives a brilliant light equal to that from seven
or eight regular 100-watt MAZDA lamps. It
has a life of approximately 2 hours . . . which
means that hundreds of feet of film can be shot
with it . . . and it costs only 35c!
Now you can take sparkling, clean-cut movies
right in your own home without fuss, muss,
or costly equipment. All you need is super-
sensitive film in your camera . . . and a couple
of Mazda Photoflood lamps.
Let's suppose you want vivid movies of baby
splashing in the tub; one Photoflood lamp in
Write for a free booklet on the
the bathroom fixture will give enough light.
For small groups, use one or two lamps in reflec-
tors. Or, instead, you may place 3 or 4 of these
lamps around the room in wall, ceiling or port-
able lamp fixtures. Then shoot away for some
of the most precious movies you ever took !
Enjoy this new thrill tonight. Try making some
movies in your home. You will never tire of see-
ing them in later years.
You can secure Mazda Photoflood lamps
where you buy film. Be sure to look for this
mark "GE Mazda Photoflood" etched on
the tip of the glass bulb. That is your guar-
antee of quality. General Electric Company,
Nela Park, Cleveland, Ohio.
new MAZDA Photoflood lamp
MA7DA PHOTOFLOOD LAMPS
a product of
GENERAL
ELECTRIC
140
APRIL 1932
COMPLETE SCENARIOS
FOR HOME MOVIES
Stop wasting film by aimless snapshooting. Make real photoplays with your family and
friends instead. We furnish story, scenario and titles with detailed instructions which en-
able you to make perfect 16 mm. pictures. Every detail has been completely prepared for
your use by professional writers and directors. We have a large variety of stories for you to
choose from : dramas, comedies, burlesques, etc. These are in two classes : features, 400 ft. ;
featurettes, 100 ft.
We provide story and scenario with complete set of ART TITLES, photographed on 16 mm.
film, ready to be cut into the picture. Also an H.M.S. Number Slate for identifying scenes.
Price, complete, $1 5.00 for 400 ft. subjects ; $6.50 for 1 00 ft. shorts.
NOW READY FOR PRODUCTION
400-FT. FEATURES
1_"THE MORTGAGE COLLECTOR"
A burlesque for either children or grown-ups.
2— "ALMOST A MURDER"
A drama for grown-ups.
3— "THE CASTAWAY"
A burlesque South Sea Island story for children or
grown-ups.
4— "WHEN THE REX GANG RODE"
A story for the children, doll and dog.
5— "WILD WEST"
A Cowboy, Indian story for the young boys, girls and
mother.
6— "MY FAMILY"
A story for the home which will enable you to utilize any
film which you might have on hand of friends or family.
7— "ONE GOOD DEED"
A Boy Scout Drama involving camp life and first aid.
Pictures made from these scenarios are eligible for the
teur Movie Making Contest, providing you edit your
8_"A TIMELY RESCUE"
A Boy Scout Story embracing safety and rescue work.
9— "ON DUTY"
A Boy Scout Story involving the duties of a scout in a city
or town. For winter or summer.
10— "PA GOES TO THE MOUNTAINS"
A comedy for the family in vacation time.
H_"SYMBOLS"
A story told in cinematic symbolism.
12— "THE SPIRIT OF COCKEYED COLLEGE"
A comedy for a club, college or highschool group.
100-FT. FEATURETTES
1_"WAGES OF SIN"
A backyard farce with a surprise finish
2— "REMINISCENCE"
Henry reviews his early love affairs.
AMERICAN CINEMATOGRAPHER'S $1000.00 Ama-
picture yourself.
EDITING
For pictures made from
our scenarios. $5.00 Der
picture. All other edit-
ing. $2.50 per hour, pay-
able C.O.D. of finished
reels.
HARRISON-H.M.'S.
FILTERS
For use with H.M.S.
Matte-box. Driced from
$3.00 to $5.00 each. Or
in sets at special prices.
H.M.S. Matte-Box
ART TITLES
Photographed on ART
BACKGROUNDS. $.30
per title, not to exceed
ten words: each addi-
tional word. $.03.
H.M.S. NUMBER
SLATE
A great aid in photo-
graphing and editing
pictures. Price. $1 .00.
•
Professionalize your 16 mm. camera with the M.S. combined Sunshade, Matte-box and Filter Holder, pic-
tured above. Fits any standard 16 mm. camera, also Eymo and DeVry 35 mm. cameras. Price, $7.50. Fitting
to more than one lens or to 35 mm. or still cameras at slight extra charge. Mention make and model of camera
and lens equipment when ordering. Write or wire you r order to
HOME SCENARIOS, Inc.
1220 Guaranty Bldg.
Hollywood, California, U. S A.
MOVIE MAKERS
141
Color . . Speed . . Distance . . Close-ups
With these lenses, your Filmo gets them all
Cooke i-inch F i.S Lens. With this lens and its Kodacolor
filter your Filmo is equipped for full natural color. Also, the
lens has the speed for successful black and white shots with
the minimum of light. Complete with Kodacolor filter, as
illustrated, $j$. hens alone, $60.
INHERENT in your Filmo Camera is the
capacity for pictures in full natural
color, scenes indoors and outdoors under
shade or fading light, long-distance shots
with the picture clear and large on the film,
close-ups such as lend so much interest to
professional movies.
The assemblage of lenses here illustrated
enables you to take fullest advantage of
Filmo's professional range. These lenses are
the finest for the purpose that can be pro-
cured . . . Cooke lenses, famed for their
clear definition, used exclusively by most pro-
fessional cinematographers .
See your Filmo dealer to learn more about
these lenses and the other accessories pic-
tured here. Or write and let us guide you
in your selection.
ISSHhbGA V
Filmo ys, with F 1.8 lens and Kodacolor filter, as
illustrated, is the lowest priced Kodacolor equipped
camera. Small, light, and compact, it is ideal for
vacation and outing use. Complete for Kodacolor, in-
cluding leather case, $141).} 0. With F }.s lens for
black and white, including case, Sgg.so
6"FS.S
4 F 4.5
)" F4
2" F ,.,
(.Left) These Cooke Telephoto Lenses open up your Filmo
to intermediate and long distance shots. Pr tees from $;; to $6j .
The new Cooke 1; mm. F 2.5 lens in focusing ?nount — an
extremely wide angle lens for use in close quarters. Price $ss-
In universal focus mount, $45.
This B & H Combination Filter Set meets every ordinary re-
quirement for color correction with standard Filmo jo lens. It
assures black and white pictures of fine detail and clear differ-
entiation of shadings. Complete with Duplex holder, 2.x and
4.x uniform amber glass filters, amber glass graduated (sky)
filter, and case, $}.ys-
The B & H Lens Cleaning
Kit helps you to sharp, bril-
liant, clear-cut pictures because
it enables you to keep your
lenses clean without scratching
or damaging them. Complete,
$1.50.
^fgglF3^
BELL & HOWELL
FILMO
Bell &HowellCo., 1843 Larchmont Ave., Chicago;New
York, Hollywood, London (B&H Co., Ltd.) Est. 1907
Personal Movie Cameras, Projectors, Accessories
142
APRIL 1932
"\
J. Thos. Rhamstine
presents
THE NEW IMPROVED
ELECTROPHOT
photoelectric EXPOSURE METER
JKJEW size and shape . . . easier
to handle and operate . . . re-
flex viewflnder . . . simple, easy
battery replacement . . . can be
slipped in camera case in place of a
roll of film . . . new low price . . .
now only$30m in the U.S.
N'
'OV Electrophot
comes to you in a
new and better form! It retains all its
advantages of fully automatic exposure
reading, time and film saving and assur-
ance of perfect pictures. In addition,
it now is easier and quicker to operate.
It may be slipped in your pocket or in
place of a film roll in the camera case.
You can slip it from your pocket or
case, sight it with the new Reflex view-
finder, press the button, and the unfail-
ing "electric eye" immediately records
the true light conditions — tells you
the exact lens setting on a dial
scaled from //l to //32, the same
as the lens on your camera.
What could be simpler? Think of
the time you save, of those quick
shots you now can make success-
fully, of the film you save by elimi-
nating mistakes in judging or esti-
mating.
Electrophot removes all the time-
wasting, confusing technicalities. It
asks no careful judgment or ap-
proximations from you. You do not
have to squint through a tube or ad-
just any sliding scales. Simply sight it
at the scene or subject, press the button
and at a glance read your correct lens
setting!
Electrophot is ideal for shots under
difficult conditions — for indicating at
once whether color or other specialized
work is possible — for interior scenes —
and when to use the new superspeed
film.
Above all . . . it's a film saver! Every
shot is a successful one!
Electrophot photoelectric exposure
meter is developed on proved principles
used in professional talking picture
work, color sorting machines, photom-
etry, etc. In the hands of amateur
movie makers the world over it has
proved its remarkable ability.
Four inches square, 1 %" high, it
weighs approximately 16 ounces.
Comes in a genuine cowhide leather
case, with complete operating instruc-
tions. Your dealer will gladly give you
a folder completely describing Electro-
phot and can show you this remark-
able instrument.
Price
in the
United
States
$on.oo
30
Complete
with
leather
ELECTROPHOT is a product of
J. THOS. RHAMSTINE1
Manufacturer of precision electrical
apparatus for 12 years
501 E. Woodbridge
Detroit, Mich.
MOVIE MAKERS
143
DA' LITE Announces
3 NEW SCREENS
Closed
The DA-LITE Model "F"
A screen that combines the advantages of the
Da-Lite glass bead projection surface, com-
pactness, simplicity, rapid setup, and low
price. The Model "F" stands firmly on a pair
of folding feet. The upright support bar
swings down parallel to the case when the
screen is collapsed for carrying. Ruggedly
made and beautifully finished, the DA- LITE
Model "F" invites comparison at the follow-
ing prices.
22x30, £13.50 30x40, £16.00
36x48, £18.00
&
E>
FRONT
VIEW
DA-LITE — pioneers in the development of pro-
jection screens — always ahead — ever anticipating
the industry's needs! Da-Lite advanced thought
scores again with three brand new and very
worthwhile ideas of particular interest and im-
port to movie makers and industrial users of
motion pictures. Three new screens to meet
three urgent needs! Here they are:
The DA-LITE
MODEL "A"
Wl
th
Da-Lite
FRONT
VIEW
TRIPOD
The Da-Lite "A," the most
famous of all portable, table-
type screens, may now be had
with a specially built, thor-
oughly rigid, adjustable, col-
lapsible tripod stand. The
"A" is distinguished by its
unique mechanism for automatically
raising the screen or returning it to the
box. Also by the patented stretching
device which brings the projection sur-
face to perfect, wrinkle-free flatness.
Now, with the tripod stand, the Model
"A" may be used at any desired height
from the floor.
22x30, £20 30x40, #25
36x48, #30 39x52, #35
Tripod equipment, £5 extra.
The
MODEL "A" DA-TEX Translucent Screen
liere is a collapsible, portable screen for rear projection. It's the Da-
Lite "A" in all respects, excepting that it has the DA-TEX translucent
projection surface instead of the glass bead. The same clever mechan-
ism raises and lowers the screen; the same stretching device brings the
surface to plate-level smoothness. The Model "A" DA-TEX may be
had with tripod equipment.
22x30, £20 30x40, #25
36x48, £30
Tripod equipment, #5 extra
• • •
The Da-Lite line of superior projection screens is the most complete
line the industry affords. See them at your dealers or write for com-
pletely descriptive literature.
THE BA-LITE SCREEN CO,, INC,
2721 N. CRAWFORD AVE.
CHICAGO, ILL.
144
APRIL 1932
5opJ50
oil the same to the
New ViCTOPt PftojecroPi
Never before have there been 16 ni/m pro-
jectors that could be so admirably adapted
to every need of the non-theatrical user as
the NEW VICTORS.
VICTOR insures flawless performance and
true theatrical brilliancy whether the throw
is close up or over a hundred feet, and
whether the image is to be postage-stamp
size or 12 feet wide.
The new VICTOR "H" Series embody the
New VICTOR HI-POWER Optical System
more than doubling our former screen
illumination, regardless of the lamp used.
The New VICTOR Model 8-H employs
the latest lamp innovation—
100 Volt Bi-Plane Filament.
-the 400 Watt
A Motor Stabilizer which neutralizes line
fluctuations up to five volts and insures ab-
solute constancy of speed at all times without
employing friction is another improvement
provided on all new VICTORS.
AND DON'T FORGET the numerous other
outstanding Refinements which VICTOR
alone of all manufacturers provides for your
Protection, Satisfaction and Convenience.
For the greatest 16 m/m Value of this year
.... or any other year .... ask to see the
new VICTORS.
Manufactured by
VICTOR ANIMATOGRAPH CORP'N.
DAVENPORT, IOWA
Distributed by
NATIONAL THEATRE SUPPLY CO.
BRANCHES IN PRINCIPAL CITIES
ASK A DEALER to DEMONSTRATE
145
G
THE AMATEUR CINEMA LEAGUE, INC
EORGE EASTMAN, the greatest person-
ality in the history of photography, brought
to a close his long record of effort, of ac-
complishment and of service on the four-
teenth of March. The manner of his leaving this
world comported with the way that he had worked
in it. From the beginning until the end, George
Eastman faced life practically, fearlessly and uncom-
promisingly. The exceeding much that he made
of a temperament, shy, inexpressive and retiring was
due to his iron will and his amazing discipline over
himself. If anyone ever has illustrated what a firm
character could win from American opportunity,
over many obstacles, George Eastman did so.
The contributions that Mr. Eastman made, through his company, to the de-
velopment of amateur cinematography are too well known to recite here. He
willed that personal motion pictures should be made available to the world and
we have amateur movies as they are today. There is no detraction from the con-
spicuous efforts of other pioneers in making our avocation possible to say that
Mr. Eastman's place was unique in its history. It is generally known that amateur
color cinematography on a practicable basis, to single out one of so many in-
stances of pioneering in invention and distribution, is to be credited to Mr.
Eastman's personal effort and to his continuous and active personal interest.
On the foundation of the Amateur Cinema League, Mr. Eastman became a
sustaining member and continued as such until the present year, in the early
months of which he was tendered an honorary life membership by this organiza-
tion, which he accepted in a characteristically brief letter, saying, "The League
is doing a good work and I have been glad to be a supporter of it." His death,
therefore, robs the Amateur Cinema League of one of its two honorary life
members. We offer to Mr. Eastman's relatives, friends and business associates
our deep sympathy in their loss which we also share.
With the same care and attention to detail which marked Mr. Eastman's
whole life, he had, a number of years before the end, taken proper steps to in-
sure the safe continuance, under wise and well considered policies, of the Eastman
Kodak Company, the gigantic enterprise that stands as his most imposing monu-
ment. Mr. Eastman's departure will have no effect upon that company other
than to bring sorrow to his companions of many years of common effort. His
great organization will go on as he wished to have it go on, following the policies
that have made its remarkable success. Mr. Eastman arranged his business in-
terests with the same thoroughness that he displayed in his enormous benefac-
tions during his lifetime and, at the end, all was completed.
George Eastman was nearly the last Titan of his generation. It was a strong
breed of men, not all of them, as with him, informed by a social sense that made
them great in service as well as massive in deeds. He belongs to the period when
the American scene was depicted on vast canvases, when men marched with seven
leagued boots and labored with immense tools. For one of that heroic group,
can there be a better leave taking than his own, "My work is done. Why wait?"
Because of the spiritual affinity between him and those
stern old Romans who marched off in good order to face
the end, it is altogether fitting that we should say to George
Eastman, even as they, departing, said, "Ave atque Vale!"
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
Address all inauiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
His work was done
J&aR
mm
ttt
-,;... ■vs*^'.:-.
Br
I J
MOVIE
MAKERS
147
Achieving effects
RUSSELL C. HOLSLAC
A title background
with an April mist
effect. See titled
example on page 177
Photograph by Nesmitli & Associates
Simple variations
which will improve
any amateur film
IT is the aim of every amateur movie maker
to make his films as excellent as possible.
How is this excellence to be achieved? A
fine film, which will command audience interest,
is a combination of many small excellencies.
Care in choosing the viewpoints, knowledge of
correct exposure, effective lighting, careful fo-
cusing, the considered use of filters, interesting
subject matter, well chosen titles — all these are links in the chain of qualities that go
to make up a film that will command flattering attention on the part of the audience,
instead of furnishing merely an accompaniment for desultory conversation.
To provide the last, final finish to his films, the amateur unquestionably should
consider the use of various, simple effects, sometimes known as before the lens effects.
The latter name is certainly more revealing, inasmuch as it explains the manner in
which most of these effects are achieved. It will be of advantage to name here the
usual camera effects. The ones simplest to produce will come first — the fade out.
the fade in, the iris out, the iris in, the floating iris, the lap dissolve (often called
simply dissolve) the vignette, the matte, the white iris, the fog filter, the diffusion
screen or lens and the fifty fifty filter. Although many different effects may be
obtained with the use of filters alone, they will not be discussed here since they
belong in another category; the filter last mentioned above will be described because
it is, in effect, a form of mask.
The simplest, most usable and most easily understood effect is that of the fade,
either in or out. In effect, instead of one scene clicking off the screen and another
taking its place abruptly in the twinkling of an eye, the first scene, by means of the
fade, may be made gradually to diminish in brightness, becoming darker and darker
until it quite disappears. This is the fade out. The reverse process forms the
fade in. The fade out may be compared to the "slow curtain" of the theater; it is
much the same in dramatic effect. The fade is most easily performed by means of
a fading glass, which is simply a narrow strip of glass, clear at one end and merging
into opacity at the other. It will be seen that, starting at the clear end, such a glass
may be drawn manually in front of the lens while the camera is running. If the
motion of the glass is fast, a quick fade will be produced on the film; if slow, the
fade out will be more gradual. Whatever kind of fading glass is used, the clear
part of the glass must be kept over the lens while the first part (or balance) of the
scene is being shot, as the introduction of even the clear glass in front of the lens
would be noticeable if made suddenly at the end of the scene.
A homemade fading glass may be produced by cutting a strip about two inches
wide and five or six long from a piece of old plate negative which has been thoroughly
cleaned. This strip should then be carefully smoked over a candle or oil flame,
leaving one end perfectly clear and merging, as evenly as possible, to an opaque
deposit at the other end. Such a coating is easily marred but, since it may be re-
newed with the greatest ease, this is not important. A little practise will show how
to get the coating even.
An interesting form of automatic fading device was developed some years ago. In
it, a disc etched with very fine lines was revolved by clockwork before the lens. To
make a fade out, the scene was shot through the clear part of the disc and, when the
time came for the fade, the operator pressed a trigger or cable release and the disc
slowly revolved. As it did so, the etched lines were spaced closer and closer until
the entire image was cut off and the disc stopped automatically. A feature of
the device was that the time taken for the movement of the disc could be set at
values from two to eight seconds, thus giving a quick or slow fade at will.
In using any type of fading device with reversal film, however, it must be
remembered that, to the automatic processing machine, the fade out is nothing but
a progressive underexposure. It will nobly try to compensate for this, but, of
course, cannot bring out an image on the film after it has been completely obliterated
by the fading glass. Hence the reversal fade is apt to grow lighter up to a certain
point where the image begins to disappear. Nevertheless, such fades are effective
because they accomplish the purpose of causing gradual disappearance of the image.
The iris is a round opening and closing device, similar to but larger than the
iris diaphragm contained in the lens. The lens diaphragm does not usually close
completely but the effect iris does. The effect iris should not be too close to the lens,
never less than an inch from the front element in 16mm. camera lenses. In fact, the
larger and farther away from the lens it may be placed, [Continued on page 173]
Copyright, Fairchild Aerial Surveys, Inc.
MOST amateur movie makers have, at one time or an-
other, probably given thought to exposing some film
from an airplane and have had doubts on the tech-
nical end of the matter, particularly with regard to what
filter to use and what would be the correct exposure. It is
interesting to note that, as a rule, two major light conditions
prevail when flying. By this is meant that there is either
bright sunshine or else the sky is definitely overcast, giving
no sunlight whatsoever on the ground. It is a fact, when
flying, that the higher the plane, the less is the exposure given,
due to the fact that there is a great deal of reflected sunlight
from the ground thrown back into the camera. In flying
around New York where it has been my privilege to secure
quite a large number of excellent pictures, I have always
used "straight" panchromatic film, working at //5.6 with a two
times filter, under sunny conditions, and have in all cases
been very fortunate in securing excellent results. These pic-
tures were taken from a cabin ship with a lowered window,
so that there was no glass interference. It is quite essential,
if a person is flying in a regular passenger plane where a pic-
ture must be taken through glass, to take precautions to shoot
through a section of the glass where there is no imperfection,
otherwise distortion will result and the developed picture
would look like something a man would see on leaving a
speakeasy. Under overcast conditions, it is best, when photo-
graphing buildings, such as one sees in New York City, to use
a one and one half times filter and to work at //3.5, whereas,
when working in open country under overcast conditions, it
is best to work without a filter at an exposure varying beween
//3.5 and f/5.6, according to the nature of the territory. By
this I mean that, if you are photographing wooded land where
the trees are of necessity dark, greater exposure must be given
than if you are photographing plowed fields which are a pale
yellow in color and which reflect a greater amount of light.
Another thought in aerial filming is to endeavor, as far as
possible, if you are in
an open plane or one
with lowered windows,
to avoid flying through a
cloud as this will cause
a steaminess on the lens
which does not always
readily disappear. An-
Aerial movies are
shown to be easy
for the amateur
Looking down on a
modern miracle of
man and of nature
other thing to be guarded against, if you are flying at a fairly
high altitude where the air is cold and dry and the tempera-
ture below freezing, is a descent into a warmer temperature.
This causes the lens to steam up and any pictures you may
take during the next fifteen minutes or so would be absolutely
worthless, unless the lens were cleaned.
If the exposures given above, which are all based on the
use of straight panchromatic film, and not on superspeed film,
are followed, excellent results will be assured. Of course, it
must be borne in mind that the exposures given are for the
New York latitude and certain slight adjustments would be
necessary if a person were traveling far north or far south of
that latitude.
Care should be taken, at all times, in taking pictures from
the air to make quite sure that the camera is locked with its
focus at infinity, as, due to vibration from the motors, there is
always the possibility, if this is not taken care of, that the
lens may creep forward, shortening the focus and giving a
series of blurred pictures. In taking air pictures, the writer
always uses a fixed focus camera and has no worries on this
score. In cases where an adjustable focus camera is used, if
a small piece of adhesive tape is placed over the locking de-
vice on the lens when it is set at infinity, no difficulty will be
experienced from creeping.
When flying, it is desirable to hold the camera tightly
against the face, just as when taking pictures on the ground,
as, in this way, most vibration is eliminated. However, if the
operator finds it difficult to do this and must rest the camera
on something rigid, it is essential that a cushion or something
soft be placed between his hand and the portion of the air-
plane on which the hand is resting; otherwise the pictures
will be blurred by vibration.
By way of further advice for any who may seriously con-
template the taking of aerial movies, if a special flight were
being undertaken by chartering an airplane, a ship of the
Fairchild or Robin type is best suited for such work, as, when
sitting in the cabin, pictures free of struts and tail surfaces
may be taken from the rear window. If a transcontinental
flight is being made on one of the regular transport planes
of the Ford type, it is strongly advised that seats be obtained
near the rear of the cabin for the same reason, as, if one of
the four forward seats on either side of the ship is used, the
amateur will find not only an [Continued on page 161]
ROBERT A. SMITH
148
For flying filmers
Deep sea filming indoors
B. WETZLER
ARE you tired of making conventional home movies,
scenics or whatever else you may have photo-
graphed? Would you like to do something differ-
ent, something that will surprise you as well as your friends?
How about pictures of underwater life? Of course, it is
not meant that you should outfit an expedition, charter a
boat with special apparatus and set off for some far away
tropical sea. Quite the contrary, it can be accomplished
with comparative ease and yet rival any undersea picture you
have seen. A visit to a city aquarium will reveal the possibili-
ties at once. A fish bowl will serve for its execution.
At the New York Aquarium, for example, there is an
abundance of opportunity to photograph varied and inter-
esting species of sea life. An interesting exhibit, to say the
least. Incidentally, no permit is necessary to make motion
pictures. There, in the center of the aquarium, are large
open tanks showing crocodiles, alligators, turtles, wild ducks
and certain species of crane. There is no opportunity to
photograph these because of insufficient lighting. However,
along the circular wall, both on the main floor and on the
balcony, are rows of illuminated glass tanks, varying in
size from two to five feet square, housing the giant groupers,
green and spotted morays, shovel nose sturgeon, small sharks,
blue angel fish, sea horses and many others. All are ex-
hibited in settings and backgrounds closely resembling their
natural environment. These tanks are illuminated by in-
candescent lamps and reflected light from the sun and sky.
The intensity of light is not exactly ideal but, with super-
sensitive film, is sufficient to permit the making of motion
pictures. This film, of course, is most adaptable for ex-
teriors and interiors where the condition of light is poor and
especially where artificial light is used. Supersensitive film
has potentially the same qualities as that of panchromatic
film but its sensitivity to the yellow, red and orange rays
of light has been increased greatly as compared to regular
panchromatic film. Therein lies its supersensitiveness, re-
quiring much less than the amount of light formerly necessary
to gain a good exposure under any given light condition.
Here you have choice as to the group to be photographed.
The small sharks, sea horses, butterfly fish, shovel nose stur-
geon and the small octopi are among the most interesting.
Small sharks which are actually twelve to fourteen inches
in length appear as veritable monsters when shown on the
Simple directions
for something new
for cine cameras
screen. The same also
holds true with a
small octopus, although
the specimen may be no
larger than your fist.
The sea horses are
about two inches in
height and are queer,
prancing creatures, almost comical in their actions. The
butterfly fish are beautifully colored, underwater counterparts
of the graceful air creatures for which they are named.
The aim, primarily, is to get the best picture results pos-
sible under prevailing conditions. A very bright day for
this purpose is most desirable. The following equipment
is advised — a camera which will run at eight, or half speed,
a tripod with a "pan" and "tilt" head, a roll of supersen-
sitive film and a fast lens, preferably //1.5, 1.9 or 1.8. Set
the camera two to three feet from the tank. This will allow
freedom, should you wish to "pan" or "tilt" in following the
movements of the fish. Be careful, in doing so, that you do
not include the frame on the edges of the tank as it will spoil
the illusion of the scene having been taken underwater. Be-
fore focusing the lens, it is advisable first to study the fish
as to the proximity of their movements. The distance from
the glass inside the tank is a matter of judgment but can
be approximately determined by looking at the subject hori-
zontally, or level with it. The reason for this is that light
travels in a straight line but, as soon as it strikes the sur-
face of a medium, such as glass or water, it is deflected or
bent at an angle. Therefore, the object will appear to be
where it is not. The degree of refraction depends on the
angle of observation. Another way of determining the focus
is to hold the palm of your hand facing the glass. By mov-
ing it in and out you will see the corresponding action re-
flected within the tank. Stop when it strikes in the vicinity
of the subject and measure the distance from your hand to
the glass. Add this distance to the camera distance from
the tank. The total of both distances will give the distance on
the focusing scale at which to set your lens.
If you are using an //1.8 or 1.9 lens, open it wide up and
set the camera to operate at eight frames per second, or half
speed, if this is possible on your machine. If not, it is ad-
visable to use an //1.5 or //1.4 [Continued on page 164]
John W. Sheere
Tiny fish bowl or
vast aquarium makes
fascinating films
150
Amateur clubs
ARTHUR L. GALE
Latest news of
group activities
and photoplays
Philadelphia ■ 0ne hundred prompt
and eager guests sat
down to the annual dinner of the Philadel-
phia Amateur Motion Picture Club held in
that city during February and found their
expectations more than filled with a pro-
gram including the personal appearance of
Miss Alice Joyce and Tom Moore of the
professional screen, a series of songs by Chief Caupolican, baritone bass of
the Philadelphia Grand Opera Company, and other features. John T. Collins,
Jr., A. C. L., the club's president, had everyone at the table three minutes after
the announced time, which is believed to be a record for promptness. The en-
tertainment features were offered during the course of the dinner and Mr. Col-
lins, at its conclusion, introduced three speakers, including the managing di-
rector of the Amateur Cinema League, who bore the greetings of the League.
New York CitV ■ Enthusiastic acceptances of a second annual interclub
contest have been received by the contest chairman of
the Metropolitan Motion Picture Club in New York City from amateur clubs
representing Hartford, Jersey City and Philadelphia, according to reports
from a recent meeting of the Metropolitan Club. Program items at this meet-
ing included a demonstration of 16 mm. sound on disk projection and the
screening of members' films in Kodacolor. This club met at informal dinner
before the meeting for the first time, with a success which promises the con-
tinuance of this pleasant custom.
Bagdad ■ ^n Sheboygan, Wis., an amateur production unit working under
the leadership of Henry S. Monroe, A. C. L., is filming a one reeler
based on the last movement of Rimsky-Korsakov's symphonic suite, Schehera-
zade. The story is adapted from one of the tales of the Arabian Nights and
models will be used to secure some of the effects. Interior sets will be em-
ployed to give the illusion of Bagdad streets. Mr. Monroe, assisted by Lorna
Seabury, is directing the picture; T. H. Leonard is cameraman; Gordon Bor-
chardt is in charge of scenery; Marie Borchardt and Isabel Hickman are
handling costumes and Donald Hickman, lighting.
Football plot ■ The Greenbriar Amateur Movie Club, a newly organized
production unit in White Sulphur Springs, W. Va., has
completed a two reel photoplay, Two Minutes To Play. Although based on
the conventional football plot, this film is distinguished by extraordinarily"
fine continuity, direction and acting and sets a new standard of excellence
in this type of amateur picture. A second production is now being planned.
George D. O'Brien is president of the club; Hal Morey, secretary; Robert
Parker, treasurer. Two Minutes To Play was directed by Mr. Morey and in
the cast are Janet Kessinger, Dan Peterson, Laddie Courtney, Russell Brennan,
Gunno Karlberg, Hal Morey and George D. O'Brien. At a recent meeting, White
Sulphur Goes Wet, filmed by L. R. Johnston, was screened. A club leaflet called
The Spotlight is published by this active organization.
Boston ■ The Cineamateur Club of Boston, Mass., has requested each member
to submit a list of ten topics on which he would like discussions.
The ten most popular topics will be assigned to the members best qualified to
lead discussions of them. The plan is working out very well and a topic is
scheduled for the next meeting. Henry C. Shaw, A. C. L., has given a number
of talks to the club on technical questions recently. This active club is one
hundred percent A. C. L. Inquiries from Boston amateurs, interested in
joining a club, are welcomed. Letters in care of the League will be forwarded.
Movies and Stills ^n Philadelphia, Pa., the Cine Still Club, a club for both
movie makers and still photographers, has recently held
its third meeting. Constitution and by laws have been prepared and com-
mittees appointed. At the latest meeting The Eyes Of Science was screened.
The new club has thirty pioneer members. J. C. Van Horn, A. C. L., is presi-
dent; L. Robert Kiss, vice president; M. Feinberg, secretary treasurer.
Programs will feature screenings of members' films. [Continued on page 171]
In production on
Stanford English
Club's "Markheim"
William A. P:
151
Sunspot shot — how
to secure one is
described below
SlinSDOtS ■ "While searching for new effects one morning,
I chanced to find a location close to the water's
edge. The scene was a pond with low grass growing above the
surface and I set my camera upon its low tripod in such a
fashion that the rippling water made a background to the
reeds and flowers. The sun was still low (I would counsel
movie makers to arise early!) and myriad dots and
sparkles of light were reflected from the surface of the water.
As it was very early in the morning, I opened the lens to
//4.5 and focused sharply on the silhouetted grass. This
caused the sunspots reflected from the water beyond to be
thrown out of focus and the resulting film gave a
very mysterious and dreamy effect, well illustrated on
this page. The same effect can be realized late in the after-
noon, when the sun is again low. Perhaps it will be necessary
to visit the location several times to realize just the right
conditions but good screen results will be the reward of per-
severance. ■ Continuing my experiment further, I found I
could produce another odd and original effect in the same
kind of location by deliberately setting the lens so as to throw
the entire scene out of focus. Seemingly, the necessary con-
ditions are a pond with low grass growing in the water, a
slight breeze and a low sun which causes a brilliant sparkle
among the grass stems. I pointed the camera directly at these
spots and set the lens focus at one foot, although the grass
stems were ten feet away. This threw the grass completely
out of focus and gave the effect of thousands of moons danc-
ing in the picture. (See page 174.) A telephoto will accent-
uate this effect and should be set at the smallest focusing
mark on the scale. For all work in which the sun's reflection
appeared in the ripples, I used a K3 filter. ■ I enhanced these
mysterious effects in many cases by rewinding the film in the
darkroom, after which I reexposed titles and other appro-
priate subjects on the same lengths. In this way I produced
weird and beautiful backgrounds." Lynwood M. Chace.
Small backgrounds ■ Because of the constantly increas-
ing interest in the use of the
smaller, compact title making devices which are now on the
market, attention of readers is called to the fact that many of
the fine illustrations in Movie Makers are of such a size as
to be easily clipped, lettered and used for this purpose. A
specific example may be found in the illustration on this page
which, when cut to proper proportions and lettered appro-
priately, makes an admirable title background of a size that
will fit nicely into the easel of the small title maker. An
example of appropriate lettering is found on page 175.
Photofloods ■ Movie makers will rejoice to learn that
the 64 volt lamp is no longer a sort of
electrical orphan, lent by another industry, but is now
specifically replaced by the Photoflood bulb. See News of the
Industry, page 168. ■ Two or even three way socket
adapters, which may be bought quite cheaply at electrical
supply houses, are valuable aids in securing additional light
sources for lighting large areas. ■ Spectroscopically, the
light from one of these bulbs is found to be much whiter than
the light given by the usual type of concentrated filament
projection bulb used in interior lighting units, which is
stronger in the yellow and red. ■ The evaporation of the fila-
ment is more pronounced in high pressure bulbs ; this causes
a gradual blackening of the glass which, as it increases,
indicates that the life of the bulb is getting short. ■ In spite
of the fact that one of these bulbs gives as much photographic
light as the ordinary tubular type lamp of higher wattage,
its rating is still relatively low in watts and five of these lamps
may now be used on one circuit without danger. ■ In shooting
an important scene with a number of these lamps, it is the
part of wisdom to have a few spares on hand. The bulbs are
inexpensive so this precaution is not difficult.
Title areas I ^he cnart on Pa&e 175 has been prepared
to afford movie makers a simple and
accurate means of determining the included area that will be
imaged on the film by the one inch lens at any given distance
from a title card or other closeup. In other words, the chart
will furnish the ividth and height of the title or closeup which
the lens will take in when placed at any determined distance
from the object or it will
tell how far away from
the lens an object must
be placed to include its
given size. Let us see
how this works out.
Along the bottom of the
[Continued on page 174]
Technical comment
and timely topics
for the amateur
RUSSELL C. HOLSLAG
The clinic
^i%^x-
iVarren Boyer
Closeups of flybook,
tea sers and lures
add detailed thrill
Basic advice for
sport films, told
in fishing terms
THRILLS! They are the essence of a fishing
story, as of any other sport picture. But
how are they to be photographed? The fra-
grance of the pine forest, the hissing of the line
as it cuts a path through the air, the pervading
aroma of coffee at lunch time or of a pipe after —
what can a mere visual medium do for these?
Fortunately, Nature works with us. No sensation
is free from associations. Show us a red light and our foot itches to reach the
brake pedal. Ring a bell with a certain tone and we picture a locomotive.
Every odor, taste, muscular feeling, is closely linked with visual memories. Either
can be recalled through the other. Was the wind blowing when we set out for
the stream? Let us see the branches of the trees swaying, the tall grasses
bending, our coats or skirts ballooning, our hats having to be held on, our
cigarette lighters failing to provide a fire. The great trick of pictured sugges-
tion is to discover the visual associations of the thrills we wish to share with our
spectators.
For example, the thrill of anticipation amounts to restlessness after the long
winter at home, memories of past enjoyment, gloating over one's equipment.
We cannot photograph the odor of an overheated stuffy room, as contrasted
with the memories of last spring's fishing, but a little footage wisely used will do
wonders to suggest it. Iris in on a radiator valve hissing, shooting forth steam —
a huge closeup, including only enough of the side of the radiator for it to be
identified as such. The hero, replete and weary after a heavy dinner, sits
drowsily in an overstuffed armchair, heedlessly throwing down one section of
the Sunday paper after another. He yawns, stretches himself, walks lazily to
the window and pushes aside the curtain. The window may be covered with
steam, which he wipes off with the back of his hand, disclosing the slushy street
or the drab walls of the houses opposite. Perhaps, looking in another direction,
he sees a bird twittering on a wire or on the branch of a tree just coming into
bud. It is Spring! He throws open the window, takes a deep breath, sits on
the window sill and muses. Cut or fade to a scene of his favorite fishing stream
as it was last summer. He walks away briskly to his room, opens the closet,
takes out his rods, opens them out, begins to dress the lines and spool them,
etc. Friend enters; both banter. He demonstrates a good cast— and hooks the
chandelier. Fade. The idea of that sequence was "stuffiness." The hissing valve,
the steaming window pane, sufficiently suggest heat.
After a subtitle, At last! The fishing season!, we jump, without intermediate
steps, to the cabin or camp in the mountains. If the location is at all unusual,
we film the early morning start, the dark cabin interior as the alarm clock
strikes five thirty, the alert jump, after a grin of surprise, the window thrown
wide open, the glory of the early dawn in the tree tops, the distant horizon glow-
ing with the sunrise, the blue mountain ranges, the rush to the wash basin, the
rapidly stoked wood fire and, thus, we have pictured the thrill of early morn.
In this and similar episodes, there are two distinct methods available. Con-
fusion between them makes the scene unconvincing. One is the conventional
chronological sequence of events, tending to convey information; the other is a
futuristic simultaneity of impression produced by a variety of shots all tending
to create a unified feeling. Where there are a great many factors contributing
to one emotion — as in the faces of a crowd or in the many aspects of Nature at
a given instant — the futuristic method is very striking and effective. Of course,
each of those scenes must be extremely brief, two feet or so. But where the
variety is limited or where one event is the cause of another, the rapid impres-
sion, short footage method is entirely unsuitable. Many an amateur photoplay
has been spoiled by the director's attempt to speed up a sequence that called for
a succession of impressions.
Actual fishing, for example, is by nature chronological. The feelings that
cannot be awakened by a variety of simultaneous aspects will have to be stimu-
lated by varied emphasis, which means, practically, more and larger closeups.
The big thrill of reeling in is concentrated in the instant when a bite is felt and
at the spot where it is felt, which is at the angler's thumb as the reel begins to
unwind. Therefore, after a medium shot of the angler detecting the bite, fill the
screen with the unwinding reel, with the thumb trying to control it (if it is that
kind of a reel) or, even, for comedy effects, of the [Continued on page 165]
PAUL D. HUGON
Visualizing the thrills of fishing
152
153
Movies versus animated snapshots
F. R. KNIGHT JR.
GUESTS at the amateur movie screening are really not interested in the
pictures unless the pictures themselves are interesting, and the things
that awake interest in an audience are not what many think. The
subject being projected has some importance, the photographic quality of the
scenes has a bearing upon the matter, but these are far from being all of the
story. The really important element is whether the films are movies or animated
snapshots. Very few animated snapshots are interesting and many movies are
animated snapshots.
First let us dispose of the small group of animated snapshots that are inter-
esting. The professional newsreel is their best known representative. It is a
series of disconnected shots which, because of their timeliness or unusual sub-
ject matter (and, incidentally, their brevity), are an interesting condiment to
the complete movie meal. This, inversely, explains the qualities necessary to a
successful movie, whether amateur or professional. It must be connected, not
disconnected; it must tell all of one story and not a little of many stories. This
does not require special histrionic ability from the "cast" any more than it
demands great photographic skill and ingenuity from the amateur movie maker.
For example, the professional film, Grass, had no talented cast to put it
across. In many scenes, there was ample room for photographic improvement,
although this may have been the result of photographic conditions rather than
the fault of the makers. The reason why Grass is a great movie is that it has a
story to tell and tells it well. But, one might say, Grass depicted the drama of
an entire race struggling for existence. How can the casual amateur make such
a picture? Quite probably he cannot, but it is possible for him to flavor his
films with the same ingredient used in that epic — drama. The drama reflected
in the face of the urchin who drops his ice cream cone upon the sidewalk is just
as effective in its way as the drama presented in Grass. Such an incident could
be shown with great clarity by a still camera but this would not be a movie.
Nor would it be a movie if the same shot were filmed with a movie camera. It
would be a movie of the incident if the whole story represented by the pitiful
countenance were presented. This might be told by showing how much the
nickel meant to the youngster (by filming how it was earned, perhaps through
obeying some difficult command), if it told how carefully he considered the
different uses to which the nickel could be put (by picturing him peering into
the windows of a toy store, a fruit store and a candy store) and then by showing
the final decision to buy ice cream and the satisfied exit from the store with a
cone. Then he might take his stand in front of the window and make a few
stabs at it with his tongue, while a shaggy terrier is shown regarding him quizzi-
cally. The boy would notice the dog's envious glance but appear to enjoy the deli-
cacy all the more. He would favor the dog with a haughty smile and turn away,
bumping into a passerby, with the result that his precious cone would be
dumped upon the sidewalk to his grief and the dog's delight. The innocent
cause of the disaster, of course, would buy the boy another cone and everything
would end happily.
Such a film narrative is certainly easily within the reach of every movie
maker. The boy would take little coaching, the dog none at all. The two, in fact,
could be filmed miles and months apart and be introduced to each other by a
splicing block. The effectiveness of such a story depends not upon the lens, the
lighting equipment nor the properties, but the idea. The professional screen
will inevitably have the edge on amateurs from the former angles but uncommon
ideas can be common property.
Here's another outline that might be put to good use. As an animated snap-
shot, it would show your youngsters coasting down a hill on a wagon. As a
movie, you might first show Mother as she lights Dad's cigarette after breakfast,
as he telephones for a cab, as she helps him into his coat and hands him his hat.
Then, through the windows, the cab is shown drawing up before the door; Dad
enters it and rides down the street. Intersperse these shots with closeups of
the youngsters intently regarding the proceedings. Then show the youngsters
talking over their miniature telephone and
insert another title, Yes, right away — we'll
be ready when it gets here. And now the
children garb themselves for out doors. At
this point, an ordinary child's wagon is seen
to draw up before the door under its own
"power." This can be done by having some-
one beyond the [Continued on page 161]
Showing that there
is no movie where
there is no drama
"A shaggy terrier
is shown regarding
him quizzically'1
154
Good composition is
a characteristic of
best business films
Business ■ ^he Largest Engineering Instrument, 1000 ft.,
16mm., filmed recently at the plant of Baldwin
Southwark Corp. in Philadelphia by Cyril Presgrave, A.C.L.,
presents in detail the construction of the largest Universal
Testing Machine. This enormous machine, designed for the
testing of engineering materials, generates four million
pounds pressure and three million pounds tension. Tests of
its operation as well as its construction, an engineering feat of
the day, are fully shown in this excellent amateur picture.
■ The Manufacture Of Carbolic Soap, recently made by
Peter A. Le Neve Foster, A.C.L., for the advertising depart-
ment of F. C. Calvert & Co., Ltd., Manchester, England, shows
the steps in the making of this product, beginning with the
sources of raw materials and ending with the finished com-
modity. ■ Showing the difference between the cost and service
of the inefficient plumber and that of the modern, well
equipped one, C. S. Hoag, A.C.L., in Cleveland, Ohio, has
recently completed a two reel film based on a story continuity
which tells of a housewife's experiences with both types of
workmen. Mr. Hoag plans a series of such films. ■ To display
to buyers a manufacturer's line of women's garments was the
profitable use of a 16mm. projector demonstrated in Los
Angeles recently by Kaplan & Son who employed this
method of displaying their new spring line during the market
week of the Associated Apparel Manufacturers of Los
Angeles, according to the Bell & Howell Co. Films of the
various garments of the line were shown in colors on a por-
table screen. Kaplan & Son are contemplating the use of
movies by their traveling salesmen who will carry swatches
of the material but no garments. Advantages include the sav-
ing of considerable cost in salesmen's samples — after the
original cost of the movie projector is defrayed — convenience
in showing the entire line, assurance that every garment will
be modeled to the best advantage with no expense for models
on the road and elimination of excess baggage expense. Add-
ed to this is the attrac-
tion of a novel idea.
■ The manufacture of
quilted goods for com-
fortables and garments
will be shown in a film
now being made by
George H. Hildt, A.C.L.,
Business, medical,
school, welfare,
church & other uses
at the plant of the New Jersey Quilting Co., Jersey City, N. J.
H C. H. Hagen, A.C.L., Appleton. Wis., is making a film
on the manufacture and use in the field of farm tractors.
Medical ■ Medical Films And Their Sources, the second
edition of which is now available, is a compila-
tion indicating 16mm. films which have been produced on
medical, surgical, health and hygiene subjects. Members of
the medical or teaching professions interested in securing
such films for showings should have a copy of this directory
which is the most complete listing yet offered. Physician
filmers will also find of interest the section entitled Medical
Cinematography For Amateurs. Requests for the directory
should be sent to W. F. Kruse, Bell & Howell Co., Chicago, 111.
School ■ T° snow radio amateurs how to operate a broad-
casting station is the purpose of a 600 foot teach-
ing film being produced by Alphy L. Blais, A.C.L., radio engi-
neer, Thetford Mines, Canada. A slight plot on which to
hinge the instructive message has been chosen. ■ To teach
podiatry students what constitutes a well fitting shoe and to
show the effects of wearing ill fitting shoes is the purpose of
an 800 foot, 16mm. subject now being filmed by Louis Lewy,
M. Cp., A.C.L., director in the department of footgear, First
Institute of Podiatry, N. Y. The film will show the steps in
the manufacture of shoes, especial emphasis being placed on
their corrective features. ■ Several thousand feet of 16mm.
instruction films, used at semimonthly meetings for inactive
duty training of Reserve Officers and C. M. T. C. students,
have been produced by Gerald F. Gilbert, A.C.L., president
of the Reading, Pa., Chapter of the Reserve Officers Associa-
tion of the United States. Most used of the films is a two reel
subject on the experimental mechanized force at Fort George
G. Meade, Md., which gives a clear, concise view of War
Department activities in mechanizing the Army and shows
what could be done with such forces should the need arise.
Other films are an 800 foot subject on the Infantry Weapon
School at Fort George G. Meade, Md.; a 600 foot one on the
training of reserve officers at the Finance School, Fort George
G. Meade, Md.; a 700 foot one on the summer training of the
C. M. T. C. students and reserve officers at Fort Howard, Md. ;
a 1400 foot one of the summer training of the antiaircraft
batteries of the National Guard [Continued on page 177]
LOUIS MILLER BAILEY
Educational films
The camera angle
PAUL THORNDIKE
155
Emphasis is given
a scene by choice of
telling camera angle
on Bruehl, courtesy of Weber and Heilbroner
One of the simplest
yet most effective
of
movie
de
vices
A MOST important consideration
in the making of good movies
that sometimes escapes attention
is the selection of camera viewpoints — or
camera angles, as they have come to be
called. The proper choice of camera angles
is one of the factors that determines
whether a movie is cinematic art or an in-
different picture. It also helps to determine whether the film will have variety or
monotony. Of course, just as there are uncountable numbers of subjects for
the amateur movie camera, there are innumerable positions and angles from
which they might be filmed. As a result, the exact choice of the angle for a given
scene is largely a matter of the personal taste of the amateur movie maker.
Probably no two expert cameraman would film the same scene from exactly the
same angle and, very probably, no two critics would agree as to which was for
certainty the better of the two angles. This is as it should be because, after all,
movie making is a medium of self expression and there must be room for individ-
ual taste and feeling. However, this should not be construed to mean that it
would make little difference as to what angle were selected for a given scene, for,
on the contrary, it does make an enormous difference. It does mean that the
movie maker should exercise his best possible judgment in the selection of each
camera angle and that, when this is done, the resulting composition, repre-
senting his best taste, will be his own artistic expression. Some one else might
do it differently but, then, so might he make an entirely different film.
From this, is appears that there are no hard and fast rules in the choice of
camera angles. Indeed, the bewildered movie maker might well feel that hitting
upon a very effective camera angle is largely a matter of happy inspiration. To
some extent it is, but, fortunately, there are a few guides or, at least, deductions
from past experiences that can provide a basis for the inspiration. First and
foremost, a good camera angle should achieve a good motion picture compo-
sition. A discussion of the fundamentals of motion picture composition is, of
course, a subject for another article but a few pointers may be given. For
example, one of the most common errors in composition of amateur movie scenes
is in the choice of a camera viewpoint that causes the horizon to bisect the
picture. This is particularly noticeable in distant shots in scenics and travel
films. A slight variation in camera angle would often correct this and, perhaps,
bring in some object in the foreground that would add interest to the picture.
A similar bit of bad composition, easily corrected by a shift in camera angle, is
the exact centering of large objects in the foreground. Movement in a direct
line past the camera is never so pleasant as movement past the camera at a
slight angle. It takes but a small shift in the camera's position to achieve the
better direction of motion.
A second factor governing the choice of a camera angle is the advisability
of emphasizing the subject in some way or emphasizing some particular quality
of the subject. Examples are easily selected from current photoplays. An
upward angle in a near shot of the heavily jowled villain emphasizes his paunch-
iness and, incidentally, his villany. An overhead angle shot of a bridge table
will include all of the players and emphasize some particular maneuver. A
normal angle could not do it half so effectively. Again, an overhead angle on the
semicloseup of a flower, as the heroine stoops to pick it up, allows the audience
to look at the flower from the viewpoint of the heroine. The examples can
easily be extended to scenics and travel films. An upward angle on the tall
building stresses its height and impressiveness. The same point applies to the
steep cliffs and giant trees of western scenery and has been used to splendid
advantage in several amateur western scenics. A downward angle on a long
waterfall, including the pool below, emphasizes the distance of the flow and
the action of the water striking the pool. The upward angle on an equestrian
statue stresses the dignity and majesty of the mounted figure and the same
angle in the closeup of a baby's face, as he stoops to fit blocks together, portrays
his delighted concentration as no other camera position could.
A third consideration in the selection of a camera angle is the avoidance of
monotony. Although amateur movie makers are now more conscious of camera
angles than ever hitherto and although films displaying expert selection of
camera viewpoints are being screened every day, [Continued on page 172],
J. Thomas Rhamstine*
Newest Rhamstine
photoelectric meter
features viewfinder
Katherine L. Noone retires ■ Movie Makers announces with much re-
gret that Miss Katherine L. Noone, who has
been its advertising manager since the first number and whose fine efforts have
contributed so significantly to its success as an advertising medium for the
amateur movie industry, has resigned, effective April 15. Miss Noone will leave
New York City and will retire to her home in Massachusetts. This magazine
expresses for itself and for the entire amateur movie industry all good wishes to
Miss Noone. After her departure, Miss Noone's duties will be assumed by
Arthur L. Gale and will be carried on by him in addition to his other responsi-
bilities as continuity and club consultant for the Amateur Cinema League and
as continuity and club editor for Movie Makers.
Super KodaColor ■ Color minded amateurs to whom the open season will
offer new chromatic possibilities will be delighted
with the introduction of the new supersensitive Kodacolor film which, it is stated,
will give greatly increased latitude to all shots made with this popular color
process and provide a range beyond the "direct sunlight" scope of regular
Kodacolor film. With the new film, it is possible to take color shots on slightly
cloudy days or in open shade at normal speed. For shots in bright sunlight, one
of the two regular neutral density filters is used according to the simple direc-
tions packed with each roll of the new film. No change in camera or projector
is necessary to take and project the new speed Kodacolor.
New FilmO ■ As one means of marking its Silver Anniversary this month,
the firm of Bell & Howell, Chicago, offers a new, simplified,
lower priced projector to meet the requirements of those who are anxious to
realize the advantages of a fine projector at a medium figure. The new Model
M is a single control machine and in appearance is very much like the Model 57.
Brilliant screen illumination is said to be obtained, even for large audiences,
through the use of the 300 watt, 110 volt projection lamp. The new projector
is mounted on a broad aluminum base which forms the bottom of its carrying
case. For storage or transport, the cover of the case is set down over the fully
erected projector and clamped in place. The case, which is of leather covered,
black fabric, has additional compartments for films, reels and projector acces-
sories. The film may be rapidly rewound by means of a geared, hand rewind.
Large sprockets and perfected film moving mechanism are said to insure against
film damage. Projection lenses are interchangeable and the machine is licensed
for and adaptable to Kodacolor. The Model M has the standard Bell & Howell
single tooth intermittent claw but may be provided with a double tooth claw on
request. When so provided, it will be known as the Model N. The price of
either model is $150 with case.
Three Da-LiteS B The we^ known Da-Lite Screen Company of 2721
N. Crawford Avenue, Chicago, has recently introduced
three new screen fabrications: the Da-Lite Model F, in which the bead projection
surface is held in position by a pair of folding feet; the Da-Lite Model A, which
possesses the features of a specially rigid, collapsible floor stand, a patented
stretching device to insure a taut projection surface under all conditions and a
unique mechanism for automatically erecting the screen; the Model A Da-Tex,
a collapsible, portable screen for rear projection which incorporates a special,
translucent material developed for this purpose. The Model A Da-Tex has the
self erecting and flat stretching features and may be had in floor or table models.
Stewart- Warner H In a recent inspection at the offices of the Common-
wealth Radio Co., Eastern distributors for the firm of
Stewart-Warner of Chicago, the latest product of the company proved to be a
most interesting 16mm. projector which comes complete with fabric case and
thirty three by forty inch collapsible,
silver screen. The projector has straight
line film travel and is of conventional
design as regards film moving mechanism.
In shape, however, it is unusual, the lamp
house being integral with the mechanism
housing. Threading and gate portions are
illuminated at [Continued on page 168]
Answers the query,
"What's new?" for
amateur and dealer
News of the industry
156
157
Sailing south
LESLIE FAIRCHILD
What a
to this
Spanish
cine meant
traveler to
Honduras
ONLY the most hazy impressions
of many travel experiences are
engraved on my memory. De-
lightful scenes and incidents that were once
so vivid are gradually being crowded from
mind by more recent happenings. It is
true that I can recall outstanding events
but time has robbed them of their
glowing reality. Dozens of snap shots, taken with the hope of capturing some
of the romance and glamour of exotic places, are greatly cherished but some-
how they have lost their power to arouse the full appreciation of what I have
seen. They fail to recreate the action, so vital in helping one to relive the
scenes of travels. But fortunately, on a recent vacation in Spanish Honduras,
I was privileged to carry a movie camera and this enabled me to capture its
everchanging panorama, so that, now, on the screen, I can recreate turquoise
seas breaking white and foamy on tropical shores and the rhythmic sway of
stately palms, bring back the smiles of friendly souls whom I will probably
never see again and the native market places teeming with multicolored life.
What marvelous opportunities for recording action on the voyage there!
Someone spied a sail on the offing. Word went quickly around that it was a
square rigger under full sail. There was a grand scramble on deck to view
this glorious spectacle. Closer and closer the great ship came towards us
with her mighty spread of canvas. It was the Barque Ponape of Mariehomn.
What a thrill! We watched her for a long time until she became but a speck
on the horizon. Some recorded the event on the retina of their eyes, others
made snap shots, but foot after foot of 16mm. film rolled through my movie
camera, recording faithfully every puff of wind that struck her square sails,
every wave that crossed her bow.
"Look!" someone shouted. '"Where?" A herd of porpoise were pursuing
our ship. There they came racing and leaping at a terrific speed from all
directions. These great fish were making for the bow of the boat where they
madly raced along with us. Some of them rolled from side to side as though
they had become drunk from the speed. Then, suddenly, they would leap out
of the water, showing their glistening bodies. "Look!" cried someone, "there
goes a baby porpoise swimming right alongside its mother." And, in a jiffy.
I was excitedly hanging over the bow of the boat, frantically shooting this
domestic idyl of the deep.
The clanking anchor chain broke the quiet. The good ship Cefalu, after
2,000 miles, had come to rest in one of $he most romantic settings I had ever
seen. The blue of the water, the palm fringed shores, backed by rugged
mountains whose lofty peaks lost themselves in the fleecy clouds above, were
of exotic beauty. Here was an opportunity to make a glorious panorama.
The palm speckled beach, the little town of LaCieba close to the water's edge,
the steamship wharf jutting out into the water, sea birds flying overhead about
the great steamer, Bonita Peak rising 8,000 feet above the Caribbean — all quiet,
peaceful, serene.
A few moments after landing found me grinding out yards of film from
the back platform of the narrow gauge train as it rumbled over the long pier,
through the quaint town, past picturesque huts, banana plantations, coconut
groves, native settlements nestling among the hills and unsurpassed mountain
scenery. Then we arrived at Sambo Creek, where, from a high trestle, I
dizzily stood photographing the beautiful stream that flowed below.
A visit was made to a Carib Indian Village close to the sea. Thatched
huts, stately palms, naked native children who begged for "buffalos" and
not pennies, boats hewn from solid logs, scrawny yellow dogs that looked
like foot scrapers — these were corking cine subjects. One high spot was film-
ing the thatching of a house for a bride to be. The workers on the roof
were anything but pleased at my efforts to immortalize their labor on the
silver screen. They shouted and gesticulated at me but a friendly native
urged me to grind out the picture, as he said it was a rare opportunity. I
am not sure but what they thought I was covering them with a machine gun
rather than a movie camera. Looking through the finder of my camera and
backing up so that the field of vision would take in as much of the village as
possible, I unconsciously took one step too far and [Continued on page 167]
"Sea birds flying
overhead about the
great steame r — "
Ewing Gai
. «* JL.-T i
158
APRIL 1932
The finest Home Movies
you've ever seen . .
You Can Match Them Yourself. . . in Every
Detail . . . With These Companion "K's"
JL\|0 doubt you've seen home
movies that seemed to you un-
usually fine. Pictures that were
clearer and crisper in detail. Tele-
photo pictures, striking shots of
indoor sports, night scenes in
the home that you knew must
have been made under excep-
tionally difficult conditions.
Perhaps you felt such movies
were beyond you . . . that they re-
quired professional skill or the
most costly equipment. Nothing
could be further from the truth.
For with the moderately priced
Cine-Kodak K, and Kodascope
K, the movies you take, the mov-
ies you show will evoke as much
enthusiastic approval as the fin-
est home movies you've ever seen.
The Most Versatile Cine-Kodak
In Model K you have a movie
camera that is unquestionably
the finest Cine-Kodak ever built.
An outstanding feature of this
versatile model is its interchange-
ability of lenses. For the "K" is
equipped with a special lens
mount that permits you to switch
from your/.3.5 lens or /. 1.9 to
the 1 5 mm. /.2.7 Wide Angle or
the 3-inch or 4-inch, /.4-5 Tele-
photo lens . . . easily, instantly.
Other features of the "K" include
half- speed operation at the press of
a button and two finders — one for
eye -level and the other for waist-
height use.
New and Improved Kodascope
Kodascope K, as a fitting
companion to Cine-Kodak
K, represents the latest de-
velopment in home movie
projector engineering.
It has a new, improved op-
tical system with a special
2 60- watt lamp for maximum
brilliance. There's a notably
efficient cooling system that
incorporates a new-type fan.
Both Kodacolor and black
and white movies can be
shown with the "K."
Any Cine-Kodak dealer
will gladly demonstrate these
companion "K's" for you.
Cine-Kodak K,/. 1 .9 is $ 1 50;
with/. 3. 5 lens, $110. Carry-
ing case is included. Koda-
scope K, costs $ 1 60, or $ 1 7 5
with carrying case. Either or
both can be purchased on
easy terms.
Make Your Own Titles
1 HE Cine-Kodak Titler shown above
enables you to make your own typed or
lettered titles, art titles, Kodacolor titles
— also to copy Kodak prints, to film small
objects. It is designed for use with all
Cine-Kodak models except the "A,"
Price, complete with ioo special title
cards, $6.50.
E
ASTMAN
MOVIE MAKERS
159
CINE-KODAK, MODEL K
KODASCOPE, MODEL K
f-speed at the press
button doubles the
osure time.
5, /.i. 9, Wide Angle,
Telephoto lenses in-
itly interchangeable.
i
ding crank per-
lently attached and
ays ready for use.
>endable motor that
iates any chance of
ting
failures.
5. Two finders — one for
eye-level, the other for
waist-height use.
6. Plenty of finger room
for quick and easy film
loading.
7. Automatic footage indi-
cator requires no set-
ting at any time.
8. Finished in black, blue,
and brown genuine
leather with carrying
case to match.
c
1. Improved optical sys-
tem results in maximum
screen brilliance.
2. New type fan prevents
overheating even after
hours of running.
3. Receptacle for plugging
in room or floor lamp
so that when Koda-
scope lamp switch is
on, the room light is off.
4. Rewind lever automat-
ically disengages when
projector is started.
5. Lens mount permits in-
terchanging lenses of
various focal lengths.
6. Illuminated ammeter
supplied as standard
equipment.
7. Hinged door on lamp-
house for easy cleaning
of lamp and condenser.
8. Central oiling point for
most of the important
bearings.
V.ODAK V^OMPANY Rochester, New York
158
APRIL 1932
IN
mc
USl
cle
ph
inc
the
ha<
tio
]
we
qu
mc
coi
Fo
Cii
K,
ies
em
est
i
ca
th
Ar
vei
ab
eq
mc
frc
the i 5 mm. y.2.7 Wide Angle or easy terms.
JT\0 JL ±VJLi~L±>
APRIL 1932
158
MOVIE MAKERS
The finest Home Movies
youve ever seen . .
You Can Match Them Yourself. . . in Every
Detail . . . With These Companion "K's"
I\0 doubt you've seen home
movies that seemed to you un-
usually fine. Pictures that were
clearer and crisper in detail. Tele-
photo pictures, striking shots of
indoor sports, night scenes in
the home that you knew must
have been made under excep-
tionally difficult conditions.
Perhaps you felt such movies
were beyond you . . . that they re-
quired professional skill or the
most costly equipment. Nothing
could be further from the truth.
For with the moderately priced
Cine-Kodak K, and Kodascope
K, the movies you take, the mov-
ies you show will evoke as much
enthusiastic approval as the fin-
est home movies you've ever seen.
The Most Versatile Cine-Kodak
In Model K you have a movie
camera that is unquestionably
the finest Cine-Kodak ever built.
An outstanding feature of this
versatile model is its interchange-
ability of lenses. For the "K" is
equipped with a special lens
mount that permits you to switch
from your/3.5 lens or /.1.9 to
the 1 5 mm./.2.7 Wide Angle or
the 3-inch or 4-inch, /-4.5 Tele-
photo lens . . . easily, instantly.
Other features of the "K" include
half- speed operation at the press of
a button and two finders — one for
eye - level and the other for waist-
height use.
Neiv and Improved Kodascope
Kodascope K, as a fitting
companion to Cine-Kodak
K, represents the latest de-
velopment in home movie
projector engineering.
It has a new, improved op-
tical system with a special
260-watt lamp for maximum
brilliance. There's a notably
efficient cooling system that
incorporates a new-type fan.
Both Kodacolor and black
and white movies can be
shown with the "K."
Any Cine-Kodak dealer
will gladly demonstrate these
companion "K's" for you.
Cine-Kodak K,/. 1 .9 is $ 1 50;
with/3.5 lens, $1 10. Carry-
ing case is included. Koda-
scope K, costs Si 60. or Si 75
with carrying case. Either or
both can be purchased on
easy terms.
Make Your Own Titles
THE Cine-Kodak Titler shown above
enables you to make your own typed or
lettered titles, art titles, Kodacolor titles
—also to copy Kodak prints, to film sma
objects. It is designed for use with »»
Cine-Kodak models except the A,
Price, complete with too special ti"e
cards, $6.50.
CINE-KODAK, MODEL K
KODASCOPE, MODEL K
i- Half-speed at the press
of a button doubles the
exposure time.
2.f-3-5,/.i.9,WideAngle,
"naTelephoto lenses in-
stantly interchangeable.
3. Winding crank per-
manently attached and
:lways ready for use.
4DePendable motor that
star"ng failures.
5. Two finders — one for
eye-level, the other for
waist-height use.
6. Plenty of finger room
for quick and easy film
loading.
7. Automatic footage indi-
cator requires no set-
ting at any time.
8. Finished in black, blue,
and brown genuine
leather with carrying
case to match.
1 . Improved optical sys-
tem results in maximum
screen brilliance.
2. New type fan prevents
overheating even after
hours of running.
3. Receptacle for plugging
in room or floor lamp
so that when Koda-
scope lamp switch is
on, the room light is off.
4. Rewind lever automat-
ically disengages when
projector is started.
5. Lens mount permits in-
terchanging lenses of
various focal lengths.
6. Illuminated ammeter
supplied as standard
equipment.
7. Hinged door on lamp-
house for easy cleaning
of lamp and condenser.
8. Central oiling point for
most of the important
bearings.
Eastman JVodak Company «**r'jtoM
160
APRIL 1932
For
Better Projection
KINON SUPERIOR
Projection Lenses
For All 16mm. Projectors
One cannot possibly place too much em-
phasis on the desirability of using a
well corrected projection lens possess-
ing a high degree of light transmitting
power . . . Kinon Superior Projection
Lenses for 16mm. projectors are typical-
ly Hugo Meyer in the fine precision of
their optical qualities, affording the
worker in this field an enhanced pleas-
ure in cinematography.
Focal lengths: 1 to 6 inches.
Booklet on request.
HUGO MEYER & CO.
245 West 55th St. New York.
Works: Goerlitz, Germany.
(Rolleiflex
cr*
NEEDLE SHAPvP
FOClilWC
The Rolleiflex is the ideal supplementary
or still camera for the movie maker. Its
special, high speed focusing finder lens
shows the image in clear, distinct detail,
actual picture size and right side up, even
throughout the exposure. This provides an
interesting utility in connection with stills,
backgrounds or locations. A pressure
plate keeps film flat. Prices: $75 and up.
Write for new comprehensive
10 page booklet.
BURLEIGH BROOKS
127 W. 42nd St. New York
Union Carbide and Carbon Research Labs., Inc.
Gas Welding in Kodacolor
CHARLES J. CARBONARO
SOME TIME ago, the writer had the opportunity of filming acetylene gas
welding in its natural color or, rather, as it is seen through a welder's
goggles. As the experiences connected with this work are a little out of
the ordinary, they may prove of value to other amateurs and also to those who
may be interested in knowing of a technical application of the Kodacolor process.
A preliminary test was made using an entire fifty foot roll exposed at various
camera speeds and sent to the Eastman Laboratories for processing. The results
of this test were disappointing due to the fact that the intense bluish white color
of the flame predominated. This threw the color values off balance and caused a
corresponding loss of detail in the so called "puddle" of molten metal. For this
reason it became necessary to experiment with supplementary filters, their pur-
pose being not only to suppress the excessive blue but to prevent overexposure.
The gelatine film, type of filter proved the most successful because it could be
cut to the shape and size of the Kodacolor filter and held in place very con-
veniently by the ratio diaphragm supplied with each roll of Kodacolor film. This
type of filter also eliminated two extra glass surfaces. The filters used in these
tests were the Kl, K2, K3 and G of the Wratten and Wainwright series. The K3
was found the most satisfactory when used in connection with both the neutral
density filters supplied with the Kodacolor filter outfit. This combination at a
camera speed of sixty four frames per second resulted in the colors one would
see through a welder's goggles. The semislow motion effect helped the picture
considerably as it plainly showed the bubbling of the molten metal "puddle."
The fact was also considered that, if an entire fifty foot roll was exposed for
each experiment and sent to Eastman for processing, the experiments would
have proved too costly and too protracted. It became necessary, therefore, to
devise a scheme for shorter exposures and immediate processing so that every
test could be projected before another was attempted. This was accomplished,
using the formulae prescribed by the Agfa Company for their color plates, and
the results obtained were perfectly satisfactory. When these test strips were
compared with each other and the one that gave the best results was selected,
an entire fifty foot roll was exposed under the same conditions as the one
selected, the only difference being that this roll was sent to the Eastman Kodak
Company for processing.
Inasmuch as the working distance between camera and torch was only a
matter of twelve inches, the camera had to be protected from the heat and
flying sparks. A sheet of transite, with a hole large enough to admit the lens,
was nailed to a frame. This was placed in front of camera and tripod, which
arrangement afforded adequate protection but it was helped further by a fan
which blew away any stray sparks.
The writer is greatly pleased with this short subject not only because of its
faithful color reproduction but also because it shows the successful application
of the Kodacolor process to a problem generally considered beyond the average
amateur's range. An authority on welding, on seeing this picture, had the follow-
ing comments to make. "The pictures were very splendid, indeed. They seemed
to us to show, with a very minimum of inaccuracy, exactly what goes on in the
welding puddle and, in addition to being of exceedingly great technical value
to the student of welding, they seem to us to be remarkable simply as pictures."
MOVIE MAKERS
Movies versus
animated snapshots
[Continued from page 153]
field of the camera's lens, pull the
wagon in with a strong white thread.
The children are shown from outside
the house as they peer through a window
and, then, as they come out, seat them-
selves on the wagon and start off.
They are next shown at the top of
the coasting hill as they shove off and
ride to the bottom. In the middle of
this shot, splice a view made by the
cameraman from the front of the wagon
as it descends the smoothest section of
the hill. Then show the youngsters
trudging up the hill. Again, show them
rolling down and, at the bottom, re-
garding the difficult climb to the top.
The boy has an idea; they turn the
wagon about, climb upon it and scoot
up magically. This is accomplished by
filming them with an inverted camera
as they coast down the last fifty feet of
the hill with the wagon turned back-
ward. And then follow this scene with
another inverted camera shot previously
made from the rear of the wagon as it
rolls down the hill. Both of these shots,
of course, are reversed in the film reel.
161
For flying filmers
[Continued from page 148]
engine just outside his window but also
complete landing gear equipment and
all the struts pertaining thereto, making
it quite impossible for satisfactory pic-
tures to be secured. In certain of these
planes, sliding windows will be found
which will permit pictures to be taken
from inside the cabin, keeping the entire
camera and operator inside the ship
and, therefore, not involving any diffi-
culties with the propeller blast.
In contrast to this, if an open ship is
used for the taking of pictures, the
operator will have to contend with this
propeller blast. It is equivalent to the
speed of the airplane and, if that is
going eighty miles an hour, it will readi-
ly be seen to be a great hindrance, as a
camera necessarily has to be held more
or less at right angles over the side and
the operator must bear the brunt of all
this breeze.
One other important factor in the tak-
ing of good pictures is the visibility.
It will be found in most parts of the
country that good clear days only occur
when the wind is blowing from either
the north or northwest and, while the
temperature will always be found much
colder on these days, the visibility will
always be fifteen miles or greater. In
contrast to this, pictures taken when the
wind is south or southwest, particularly
along the eastern seaboard, are nearly
always hazy and of poor quality.
Ill Sensational MOVIE OFFER!
An Additional Shipment at Far Below
HALF PRICE
DeVry
AUTOMATIC CAMERAS
ELECTRIC PROJECTORS
ABOVE, THE CAMERA
The dependable Graf f/3.5
anastigmat lens in standard
mount. Powerful automatic
motor. Uses 16mm. film.
BELOW, THE PROJECTOR
Model D. Suited to 50 ft.
throws. Uses 250 watt prefo-
cused lamp. Operates on either
AC or DC.
Regular Prices
Camera $57.50
Projector 98.00
Total $155.50
ABE COHEN'S
PRICE FOR BOTH
$
50
Here is one of the
greatest values ever to
be offered in automatic
cameras and projec-
tors. A handsome,
rugged, accurate DeVry
Automatic Movie Cam-
era— and a powerful
projector that present
beautifully clear, pro-
fessional quality pic-
tures. A special quan-
tity purchase by Abe
Cohen's makes possible
this sensationally low
price.
69
COMPLETE
AbeCohensExchange
120 FULTON ST. NEW YORK, N. Y.
DEALERS — Write in (or special
proposition in vour territory.
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4;TESSARF2.7andF3.5,TELE-TESSAR F6.3
■ FINDERS • FILTERS ■ SUN SHADES -
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., NewYork. 728 South Hill St., Los Angeles
How to plan a social welfare film
ARTHUR L. GALE
SOME amateur made welfare films have achieved such
notable success and have accomplished so much good
that any movie maker undertaking a picture of this
type can be certain that he has a happy precedent. The
film is one of the best mediums possible in which to present
social problems, to publicize relief plans or to ask for defi-
nite support for specific welfare programs. Amateur movies
provide welfare workers with a flexible medium that can
be directly controlled. A good amateur made movie is such
a potent aid in a welfare money raising or publicity campaign
that one is inclined to look for the fly in the ointment —
and with justification, for there are problems that one is
sure to meet in one form or another in making a first wel-
fare picture. Perhaps it would be more exact to say that
there is one problem with many different facets. It makes
its first appearance when the question arises as to what the
finished picture should be like. In short, the problem is the
customary one of selection and rejection of possible ma-
terial, familiar to every movie maker who has been conscious
of the possible effect of his films on his audiences. But here
there are new factors in the equation, for the accomplish-
ment of a specific object rather than general entertainment
is the purpose of the picture.
Although it might seem a rather roundabout method, the
best way of attacking the problem and making a really
good amateur publicity picture is to analyze the proposed
film, step by step. The first point to determine is what the
specific purpose of the reel is to be. It may be that the
most important service the film could render would be to
loosen the pocket book of the audiences and to secure dona-
tions, gifts or bequests for the charity project. It may be
that the end of the film would be to inform the general pub-
lic of certain bad conditions in a given district or generally
to publicize the work of some relief organization.
Often, it seems desirable that the film should serve several
purposes at once. However, the more definitely one can
select one of them as being the most important, the better
chance there is of achieving the object. There may be sub-
sidiary purposes but they should not confuse the main is-
sue. For example, after study, it might become apparent
that the real object of a given film would be to publicize the
activities of the Blank Charities. Any gifts or bequests
that the picture stimulated would be gratefully received but
An analysis of the
problems to be met,
w
ith th
eir answers
the main purpose would
be to present the organi-
zation's activities to a
poorly informed public.
Another consideration
is the type of audience
to which the picture is
to appeal. If to chil-
dren, then a simple direct dramatic treament would be best.
If to cultivated adults, then, perhaps, a straight, nondra-
matic presentation would be indicated. However, considera-
tions of audience type are not so important as are the objects
to be achieved by the film.
After decision as to the purpose of the picture, the next
step is the selection of a continuity treatment. There are
two general choices — dramatic and nondramatic. The dra-
matic picture presents a story that, for example, may illus-
trate the services of the organization or the need for financial
aid. The nondramatic is a straight presentation of the work
without the use of a story and with titles tieing the picture
together and pointing put the ideas to be emphasized.
The straight presentation is obviously more simple to film.
On the other hand, the dramatic treatment is often the more
effective. It makes the stronger appeal if the purpose of
the film is to raise money. It has the advantage of a bet-
ter hold on the audience's attention. Hence it is particularly
useful in instances where the audience is not familiar with
the organization's work.
The straight treatment is more flexible and it is possible
to include more details in it. Thus, if the organization or
charity to be presented in the picture is complex and many
phased, it is very probable that a straight treatment would
be better. Another advantage of this method of approach
is that it offers better opportunity in titles to include statis-
tics or useful facts. These often seem out of place in a story
film. In choosing between the two types of treatment, one
should take into consideration that the dramatic approach
requires complete control over the "actors," backgrounds
and settings. If there is any possibility that these factors
might be unexpectedly shifted during the filming, it is bet-
ter to sacrifice the advantage of the story treatment for the
simplicity of straight presentation. After the preliminary
analysis, the first step is to prepare [Continued on page 164]
Playgrounds Assn. of Philadelphia, courtesy National Recreation Assn.
>*'"".
Play in dangerous
streets is strong
plea for playgrounds
• • t
162
163
l/Py A high quality
movie camera at
a Popular Price
STEWART-WARNER
Movie Camera
Star the Children in
Home Talkies
The Stewart- Warner Movie
Camera has a Talking Pic-
ture Speed.
HOLLYWOOD MODEL— Complete $
with leather-bound, waterproof carrying
case of sporty new design, only
50
So simplified anyone can use it . . .
so sturdily built, it will last a li£e~
time ... so eiiicient, anyone can talce
movies o£ theatre- like hrillian.ce ...
Here is the camera the world has been waiting for.
A camera that anyone can operate — that takes
sparkling movies — and priced within reach of all.
No wonder the camera trade — movie directors —
movie stars — news reel men — say this is the camera
that will make movie-taking the sport of the nation.
Has a combination of astounding features not found
in any other camera at any price.
Four Speeds: S-l-o-w motion; regular; low and
talking picture; audible Rim counter; interchange-
able lens mount; uses any standard 16-mm. film
—developed free; the lightest spring-driven, 1 00-
foot Rim capacity movie camera on the market.
Stewart- Warner's 25 years' experience in manufac-
turing accurate, long-wearing, gear driven products,
together with the practical experience of Hollywood
Professional Cameramen, is responsible for the
outstanding merits of this amazing camera that is
taking the country by storm.
See your Stewart- Warner dealer or send for illustrated
description of Stewart -Warner Movie Equipment.
Take Movies on Your
Vacations
Make a living album of in-
teresting places and people.
Your Golf Swing in
Slow Motion
Will do wonders in helping
you improve your game.
Movie Equipment Division, Stewart- Warner Corporation, 1826 Diversey Parkway, Chicago, 111.
Gentlemen: Please send me illustrated folder, telling me about the fascinating pictures I can
take with the Stewart-Warner Camera — and how easy it is to own and operate it.
NEW STEWART-
WARNER PROJECTOR
A fit companion to the
camera. Amazing value
at the price: Uses 500
watt lamp — most pow-
erful available for 16
mm. projector.
NEW STEWART-
WARNER SCREEN
Latest roll-up, standing
type — permanently at-
tached to case which
acts as a base to keep it
in an upright position.
Aluminum surface.
Name
Address.
City State _
D DEALERS! Check here for details of complete Re-Sale Plan.
OVER 30,000,000 SATISFIED OWNERS OF STEW ART -WAR N E R PRODUCTS
164
APRIL 1932
For
Clear, Sharp Pictures
The Neiv
CORRECTOSCOPE
Combines in one instrument means
for the correct determination of dis-
tance, together with a practical ex-
posure guide. . . . The success or fail-
ure of your picture depends on how
correctly you gauge these factors.
Correctoscope is provided with a spe-
cially constructed, very critical focus-
ing lens in a focusing mount and with
diaphragm control, both calibrated
Just like your camera lens. A pre-
cision optical instrument, it is inval-
uable to the careful cinematographer.
It is a necessary adjunct in Koda-
color. Adapted for practically all
16mm. cameras.
Price $45
Literature on request.
HUGO MEYER b CO.
245 West 55th St. New York.
Works: Goerlitz, Germany.
GOERZ
CINE
KINO-HYPAR
//2.7
Wide Angle Lens
It should be welcome news to
m'ovie makers contemplating
the purchase of a wide angle
lens that a drastic price reduc-
tion has been effected in the
Kino-Hypar f/2.7. Formerly sold
at $57, its present price is $45.
This includes finder lenses when
required.
This lens, because of its speed
and unusually fine corrections,
is ideally adapted for all pur-
poses of interior, sport and
panoramic photography.
Catalog MM4, describing
the complete line of Goerz
Lenses and accessories,
will be sent on applica-
tion.
C.P.GOERZ AMERICAN OPTICALCp
317 EAST 34™ ST. NEW YORK CITY
How to plan
a social welfare film
[Continued from page 162]
an outline or synopsis of the picture.
During this stage, all of the action and
general scenes that will make up the
finished film should be determined. Only
action and subjects that forcibly support
the picture's theme or thesis should
be selected. The work of social ser-
vice organizations has so many ramifi-
cations and hence so much possible ma-
terial that there is very often a great
temptation to include far too much.
Members of the board, department
heads and even private citizens will
have many suggestions — perhaps all of
them worthwhile — but no one picture
can accomplish everything and the less
important items must be eliminated.
The success or failure of the film will
depend upon the power of those spon-
soring it to cling to the main theme and
to reject material, however interesting,
that does not advance it.
Everyone who has power of veto
should be consulted during the prepara-
tion of the outline so that, when fin-
ished, in as far as humanly possible to
avoid it, there will not be capricious
changes and last minute ideas. Unless
an agreement can be reached, there is
always the danger of proposals of
changes in the plan that, at the least,
will waste many feet of film and, in
some instances, completely ruin the
whole picture. The amateur movie
maker will often have to deal with peo-
ple who know little of the limitations
and the possibilities of movies and he
will often face impractical proposals
from well meaning social workers. The
best solution is to analyze such a pro-
posal step by step with its sponsor and
point out why it is not suitable for the
motion picture medium or why it will
not fit in with the picture.
Another problem arises from the fact
that often social workers are eager to
make their organization's film represent
the best and most approved social tech-
nique. This is as it should be and there
is no reason why the action should not
be presented in accordance with ap-
proved methods but one should guard
against going out of the way arbitrarily
to include extra action to display this
technique. If the picture is being made
for the instruction of social welfare
workers, that is one thing but, if the
picture is being made for the general
public, the question of making a com-
plete presentation of the best social ser-
vice technique is not so important as
awakening public interest in the work
being done or securing contributions
with which to carry it on.
If the treatment is to be dramatic,
the simpler the story form the better
for, after all, the story is not an end
in itself but, rather, a medium for the
indirect presentation of certain points.
Sometimes a great deal of time is
wasted in seeking some unusual story
treatment. Admittedly, many of the
formulae treatments are trite and over-
worked but, nevertheless, they still con-
tinue to serve. Such very simple plot
ideas as the one that shows what hap-
pens to the youngster who takes care
of his health and what happens to the
youngster who does not or the story
that presents the misery of a family
before social relief and then shows what
happens after relief is administered, are
very often the best story forms that can
be used. The individuality of the par-
ticular organization sponsoring them
and the verisimilitude gained by the
use of actual sets and real case histories
will give these old formulae new mean-
ing and will overcome their triteness.
After the outline has been discussed
and has reached its final form, prepare
a scenario or list of scenes, following
the same technique in scenarization as
with any other picture. For the pur-
pose of filling out the plan, rough title
wordings should be included in their
proper places. After the filming is com-
pleted, these title wordings can be
polished before the titles are made.
The most important consideration to
remember in making a propaganda pic-
ture is that, effective as the motion pic-
ture medium is, it is also limited in
scope and that one picture cannot ac-
complish everything. Detailed aid in
the preparation of the plot outline and
the scenario is available to A. C. L.
members from the League's continuity
consultant.
Deep sea filming indoors
[Continued from page 149]
lens, wide open, at normal speed of
sixteen. Either procedure will give ap-
proximately the same exposure. You
will need this maximum exposure as
you are shooting through glass and
water which absorb a great deal of
light and thus reduce its actinic value.
When running the camera at half speed,
the action of the fish will not be notice-
ably speeded up as most of them are
slow moving and some quite lethargic.
Practically all large aquaria of other
localities house their specimens under
almost the same conditions as the New
York Aquarium.
Many amateur cinematographers,
however, cannot photograph large
aquaria. Nevertheless, a visit to a
nearby pet shop, bird store, sea food
restaurant or even fish market should
offer some opportunity. If you are at
all anxious and willing to do the un-
usual, by careful inquiry, you will be
sure to find someone willing to coop-
erate with you in obtaining pictures of
this type. If you are so fortunate as to
MOVIE MAKERS
165
have a small aquarium at home, you can
build your own setting and background
with a neutral colored drop, small rocks
or pebbles, sand and plant life. Do not
attempt to photograph through circular
or globe like glass tanks, as you will en-
counter reflections of all sorts, includ-
ing your own. The tank should be ob-
long or square in shape, although it may
have rounded ends, as do some artistic
bowls. The larger it is, the better and,
of course, the larger the variety of fish,
the merrier the movie making.
Visualizing the
thrills of fishing
[Continued from page 152]
fisherman putting his thumb to his lip
as it becomes blistered in checking the
reel. After this closeup, cut back to
scenes of the angler playing the fish.
Another big closeup should be of the
fisherman's eyes, side view, as he
watches intently the spot where the line
enters the water (unlike the usual scene
of the camera focused on the water at
this stage) . Reeling in will also fill the
screen, the convincingness of the shot
depending on the tempo of the genuine
action. Closeups of this kind are not
self explanatory, which is the reason
why they cannot be cut too short, un-
like a shot showing a man's face in a
crowd. Similarly, large closeups of the
fly book, teasers and lures will add the
details without which thrill is lacking.
On the other hand, casting obviously
requires a long shot, followed by a
nearer shot of the spot where the line
enters the water — the shady retreat at
the foot of a tree or by the lily pads
where the fish are known to bite.
For the home coming sequence, there
are as many possibilities as there are
homes and anglers. The wife may be
seated expectantly in front of the camp-
fire, cleaning a huge frying pan, ready
for the catch. From behind some trees,
the fisherman appears in a very long
shot. In a closeup, he is seen still ap-
proaching, cupping his hand and call-
ing. Cut back to the wife who hears,
turns, runs towards him. She tries to
kiss him but he proudly thrusts the fish
right in front of his face and she, unin-
tentionally, has to kiss the fish. (This
has to be well rehearsed.) She takes the
fish, congratulates him and goes to the
campfire. There she surreptitiously
measures the biggest. As she is doing
so, she overhears something and her
mouth (closeup of her face) forms a
big Oh! Cut to the man who is telling
a third party about the size of his catch
- — This big! Wife turns her head, sees
his gesture, takes up the foot rule and,
holding it in her left hand, indicates
with her right how much longer it
would have to be to measure up to his
notion of his catch. Fade out.
*Dear Sir:
The titles ordered from you
were received yesterday and I de-
sire to compliment you on them
unreservedly. They are the best
of the kind I have ever seen.
Yours truly,
Robt. Whitfield,
Columbus, Ohio.
"Dear Mr. Eno :
Our picture, The Control Of Scarlet
Fever, for which you provided titles, has
been going over big not only in Ken-
tucky but in a number of other states.
We have had many favorable comments
on the clear and effective titling in this
picture for which we are indebted to you.
Yours very truly,
J. L. JONES,
U. S. Public Health Service,
Louisville, Kentucky.
♦Fourth and fifth in a series of unsolicited
letters indicating customer appreciation.
Send $2.00 and copy for two short
titles. A Test Strip will be given
free with every order.
DISTINCTIVE KODACOLOR TITLES
(Hand Lettered or Printed)
48 HOUR SERVICE
Free: TEST FILM
While your lights are still on, a correct
focus may be obtained if Eno's Test Strip is
spliced into your film.
Ralph C Eno
America's Pioneer (16mm.) Art Title Builder and
Film Editor. Charter Member A.C.L.
1425 Broadway metropolitan opera house studios
PEnn 6-2634
Telephones
New York
PEnn 6-7747
A Proven Success ! !
KEYSTONE
16 MM, Movie Camera
[with f/3.5 Ilex diaphragm lens]
.00
[with f/1.9 lens at $57.50]
100 ft. capacity
Spring motor driven
Monocular viewfinder
Film footage register
Audible footage signal
Tripod connection
Light weight
Size, 9" high
ALSO HAND CRANK CAMERA
$4 O.50
12
Now Ready For Shipment
inquire of your dealer
KEYSTONE MFC. CO.
288 A STREET
BOSTON, MASS.
166
Film fights hay fever
HERBERT J. RINKEL, M.D.
IN THE past year, we at Balyeat Hay Fever and Asthma
Clinic, Oklahoma City, Okla., have heen using 16mm.
film to present the subject of hay fever and asthma to
various medical groups. Our original film, a thousand feet
of Kodacolor, was made primarily to present the subject of
hay fever and asthma in children to the Pediatric Section
of the Southern Medical Association at Louisville in 1930.
Since that time, we have also prepared a four hundred foot
reel in black and white depicting the distribution and impor-
tance of the paper mulberry (Papyrius papyifera Kuntze)
as a cause of hay fever and asthma in the United States.
Our decision to use motion picture film was based
primarily on the fact that we needed a better means of
presenting a subject in color than was available through the
medium of photographs in natural color. It is practically
impossible to present certain phases of our work without the
use of color and, because of the long exposure required
with natural color plates, we decided to use Kodacolor film.
The primary purpose of preparing the reel was to present
the various causes of hay fever and asthma. This required
the identification, habitat and characteristics of the various
trees, grasses, weeds and plants, as well as the common
animal danders, rare animal danders, incidental proteins
and foods. All of this we tried to do in an interesting as
well as scientific manner.
In depicting plant life, our first purpose was to show the
natural habitat of the plant. This, by necessity, included a
distant or semidistant view and, in each instance, was fol-
lowed by a semicloseup and, finally, a closeup on the title
writer. By means of the closeup, we were able to demon-
strate certain features of plants that are of interest from a
botanical standpoint and, in turn, have a definite influence on
the role of these plants in causing hay fever and asthma.
Probably the most interesting weed covered was the Russian
thistle which grows to enormous size on the plains of Texas
and western Kansas. To demonstrate this, we had a group
of children hide behind the bush and walk out one at a
time. Since this scene could be faked, we followed it imme-
diately by removing the bush and showing that it was large
enough to conceal eight children. Russian thistle plays a
peculiar part in the cause of hay fever and asthma, inasmuch
as the pollen that is not destroyed through the winter may
be released in the springtime. This is due to the fact that
Natural color films
found best in this
educational work
high winds are encoun-
tered during March and
April. We were, there-
fore, forced to wait until
March and, on a par-
ticularly windy day,
were able to photograph
the plants tumbling
across the plains. We feel that a natural color photograph
presenting such a natural phenomenon will impress the
audience a great deal more than would the simple state-
ment of fact without illustration.
Another point in the preparation of the reel, that is of
considerable interest, is the role of grass in rose hay fever.
Here a simple shot showing roses in bloom, with a panoramic
view to the side of the rose bush showing grass in a closeup,
puts over a medical fact of common knowledge.
Without doubt the most beautiful part of our reel is the
butterfly scene and its use is based upon the well known
fact that any plant which attracts the bee or the butterfly
will not, in its normal habitat, cause hay fever and asthma.
This scene was shot by mounting the camera on the title
writer and focusing a head of goldenrod. The camera was
then started and the butterfly scene was obtained in its nat-
ural state. I am quite sure that men who see this film
will not forget the point for the simple reason that it is
presented in a very beautiful and yet scientific manner.
In preparing the portion of the film dealing with the var-
ious animal danders, it was our purpose to show animal
contact, for example, the man who is milking, the boy who
must tie up the calf, the man who curries the horse, etc.
This, however, concerns a relatively small percent of our
patients. Therefore, we pass from normal contact to con-
tact with these same animal danders in the home, that is,
the cattle hair pad under the rug, the horse hair in coats,
mattresses, etc. This same plan was used for all of the
various animal danders. By going to the zoo, we were able to
photograph a number of the rare animals which have in
times past been a cause of difficulty. All of our illustrations
were authentic, a fact which helps in driving home the lesson.
Photographing of foods involved no special technique,
except that we aimed to group them botanically, that is, all
legumes were demonstrated [Continued on next page]
Utilizing a title
writer in shooting
sequence on grasses
167
together, all the Rosaceae, etc.
In presenting the various incidental
proteins, we were confronted with the
problem of creating interest. There is
nothing especially absorbing in seeing
a box of fly powder, nor in being told
that it could cause hay fever. A group
of house ants was, therefore, photo-
graphed on the title writer. This view
on the screen naturally created inter-
est and, while there was considerable
interest in the crowd as to why they
were viewing ants, we then presented
pyrethrum being applied to exterminate
the ants. This, in turn, carried the
point as to how and why pyrethrum
is a common cause of difficulty to those
sensitive to the Composite group.
In orris root, another and by far the
most important of the incidental pro-
teins, we used a similar plan. We first
showed a scene of the iris plant, the
rhizome of which is used to make orris
root. The common uses of orris root
were then depicted and then the com-
mon contact, for instance, in churches,
stores and theaters. This scene is par-
ticularly interesting because we were
able to combine scenes not only of lo-
cal but of national interest.
In photographing the various skin le-
sions, we have been particularly pleased
with the fact that the closeups were
uniformly excellent and it is for this
reason that Kodacolor lends itself so
well to our use. By using the title
writer, we have been able to photo-
graph the formation of hives, thus show-
ing to the audience the natural devel-
opment of pseudopodia, hive formation
and erythema, following the injection
of a small amount of horse serum.
This scene was made by taking a single
exposure at five and ten second inter-
vals over a period of forty five minutes.
Since the camera was approximately
fourteen inches from the object, it is
obvious that the patient had to be
placed in a comfortable position and
the part being photographed main-
tained in the same position. This was
made possible by using the arm and
strapping it with adhesive to a solid
support. While it is a little more diffi-
cult to photograph the skin lesions than
other types of work, when the camera
is correctly handled, the results are ex-
cellent. As a rule we used a No. 1 or
No. 2 neutral density filter.
In making our film, we took the lib-
erty of putting in scenes that would
create interest. We feel this was per-
fectly legitimate, inasmuch as the pres-
entation of the subject matter was al-
ways on a thoroughly scientific basis.
In filming Kodacolor, we found that
our best scenes were obtained on days
following a rain, that is, when the sky
was unusually clear. And the use of
closeups, especially with Kodacolor,
should be stressed as they constituted
the most satisfactory part of our film.
Our titles were made in all cases by
using block letters. These were first
shellacked and then colored with the
desired shade of show card paint. The
opening title was first set up in yellow
and then changed through blue to red,
a single letter at a time. This was ac-
complished by single exposure, chang-
ing one letter with each exposure. By
marking the letters on the board, per-
fect alignment was secured. In a num-
ber of instances, we used the block
letters in titles superimposed on the
presentation of the subject. As a rule,
titles are apt to be uninteresting if too
long; therefore, we kept them to a
minimum throughout the film.
In every case where possible we used
animation rather than a strict graph
as we felt this would better maintain in-
terest and attention. For example, in
demonstrating the pollen curves for
Oklahoma City, Kansas City and Chi-
cago for the summer of 1926, light de-
pressions were made over the surface
of the chart. These depressions were
about three eighths inch apart and rep-
resented one day's time. By using three
different colored paints and painting
the distance between each one of these
depressions for each single exposure,
we obtained a very satisfactory ani-
mated graph.
Sailing south
[Continued from page 157]
fell "kaplunk" into a native refuse pit
about five feet in diameter and six feet
deep. Down I went with the camera on
top of me. When I looked up with
startled surprise, there was a group of
grinning blacks gazing over the edge of
the hole enjoying my misfortune to the
fullest. I felt like a missionary who had
been thrown into a cannibal pot.
When it was sailing time again, our
vacation in that land of romantic gran-
deur came to an end — at least for some
passengers — but in my stateroom were
1,000 feet of 16mm. film upon which
had been permanently recorded the
beauties of its enchanted scenes.
Publication reviews
"American Annual" ■ This well
known
yearbook, published by the American
Photographic Publishing Company, 428
Newbury Street, Boston, Mass., contains
much that is of interest to the amateur
cinematographer. Besides the pick of
the year's salon stills, which often sug-
gest valuable compositional ideas for
use in movies, there are articles of time-
ly interest, including one on Recent Ad-
vances In The 16mm. Field by R. Fawn
Mitchell of the Bell & Howell Company.
The Annual contains about 300 pages.
NOW take
Beautiful Pic-
tures in your
own HOME.
Every quality
you have wanted
in your indoor
movies Plus un-
restricted action
is now possible
when you illum-
inate with
FOTOLITES
Range in price from$l .25
to $16.00 (without bulbs)
For with Fotolites (exclusive chem-
ical finish) you can take sparkling
— clear pictures right in your home
even on dark days and at night. Most
light with lowest equipment cost.
THE STANRITE TRIPOD
AND PANRITE
Professionals and
serious amateurs
find the new
STANRITE
TRIPOD and the
PANRITE
TILT ING
TOP an
ideal combi-
nation. As-
sure steady
running pic-
tures at any
angle. Fit
any camera.
Light weight.
Beautiful
construction
(mahogany
and chromi-
um.)
Stanrite Tripod, $12.00
Panrite Tilting Top
$9.00
Lockrite attachment
for above, $3.00
NEW
10 REEL
Film
Carrying Case
This Beauti-
ful case is
equip ped
with a spe-
cially designed removable moistener
which permits moistening without
danger of damaging films.
10 Reel, $6.50 20 Reel, $9.00.
TESTRITE INSTRUMENT CO.
57 E. 11th Street, N. Y. C.
Without obligation send free par-
ticlars.
To
A ddress
168
APRIL 1932
For
Crowded Interiors
l/i.vi
........
KINO-PLASMAT //1.5, 15mm.
TRIOPLAN //2.8, 15mm.
WIDE ANCLE LENSES
The conjunction of wide an-
gle and rapidity provides, in
these objectives, unexcelled
equipment for the shooting
of interiors, enabling the
movie maker to operate at
short distance. Outdoors,
they are suited for all sports
where the action is close at
hand, extended and fast.
Kino Plasmat, $60
Trioplan, $36
in micrometer focusing mounts
Turret can be revolved with lens in
position.
Literature on request.
Hugo Meyer lenses are
standard equipment on
Victor 5 Cameras.
HUGO MEYER b CO.
245 West 55th St. New York.
Works: Goerlitz, Germany.
ICTEHS,
ynkaxx PWrjfynr mi WqWEff^U h> fevtiiDi
FvjSrati- Biffcairiftui *nd many ? Hwr tff-
cAste. your3 dealer3, op copite to
GEORGE H.SCHEIBE
PHOTO-FILTER SPECIALIST
THE BEST CAMERAMAN IN
HOLLYWOOD WOULDN'T AT-
TEMPT TO EDIT AND TITLE
HIS OWN PICTURES!
Editing and titling is a specialized
branch of the profession delegated to
experts.
We offer to movie makers 10 years of
experience, covering the expert writ-
ing and producing of titles and editing
of films.
Titles of ten words or less, art back-
grounds, 25c. Additional words 3c.
each.
PARAMOUNT
EDITING and TITLING
BUREAU
1266 Boylston St., Boston, Mass.
Professional Service For The Amateur
News of the industry
[Continued from page 156]
all times by an automatic pilot light
which functions whenever the main
lamp is not burning. Illumination is pro-
vided by the new 500 watt lamp which,
on demonstration, gave a very bril-
liant screen image. Ventilation facili-
ties of the new machine are specially
suited to the requirements of this lamp
which is of the prefocused type and
slightly larger in diameter than similar
lamps of lower wattage. A universal
motor makes the machine equally effec-
tive on A.C. or D.C. All operating con-
trols are mounted on a panel at the back
of the machine; these include reversing
switch, separate control for light and
speed control. The machine will rewind
film at high speed through a special de-
clutching arrangement. A coupling for
sound mechanism drive, light weight
and centralized oiling are other features.
The price will be $125, complete with
case and screen.
Photoflood ■ The General Electric
Company, famous
makers of lamps and electrical material,
now offers to the amateur movie maker
and still photographer a new interior
lighting bulb with most favorable char-
acteristics. In actinic value, the Mazda
Photoflood lamp offers a striking evi-
dence of the research which has resulted
in a bulb of relatively low wattage, pro-
ducing, it is said, an amount of light
comparable with that given by seven to
eight 100 watt bulbs. The Photoflood
bulb definitely replaces the former 64
volt bulb used for the same purpose,
costs less and is more efficient. The
size is slightly smaller, too. the overall
Jean Harlow uses latest of
lights, the C. E. Photoflood
lamp, in filming her father
length being about four and three quar-
ters inches as compared to six inches in
the former bulb. The life of the new
bulb is stated to be 120 minutes at 115
volts or two hours' average burning
time. Of course, the bulb should be lit
only when actually taking pictures in
order to conserve its life. It is stated
that, with the //1.9 lens and superspeed
film, one lamp in reflector will be ade-
quate for subjects up to ten feet from
the lamp; at //3.5, two lamps would be
required at six feet and three at ten feet.
More than five of these lamps should
not be used on one circuit. The new
Photoflood bulb, the logical complement
of superspeed film indoors, now offers
to movie makers greater home movie
making possibilities than ever before.
Cine Art Sales ■ Coincident with a
general and at-
tractive reduction in price on all Cine
Art library films, Hollywood Film En-
terprises, Inc., 6060 Sunset Boulevard,
Hollywood, Calif., announce a new, di-
rect from producer to consumer sales
policy for these subjects. A complete
list of hundreds of sound and silent pic-
tures will be sent to anyone who makes
his request directly to the Hollywood
office from which the films also may be
obtained.
H.M.S. Matte BoxHA combina-
tion miniature
matte box, filter holder and lens sun-
shade is offered the amateur by Home
Movie Scenarios, Inc., of 1220 Guaranty
Building, Hollywood, Calif. This little
gadget will provide amateur camerists
with the same type of sunshade as used
by the professional cameramen and, in
addition, carries a slot for the insertion
of the color and effect filters manufac-
tured by a prominent Los Angeles firm.
The device may also be used for cer-
tain kinds of matte work. It is well
made and simple to use, being adapt-
able to the lens mount of any camera.
General Electric
MOVIE MAKERS
169
Sound On 16lAt a further, recent
demonstration of the
wonderful, new 16mm. sound on film
projector, officially announced this
month by the R. C. A. Victor Company
of Camden, N. J., many interesting
facts were noted. Most outstanding was
the screen illumination, a tribute to the
optical efficiency of the illuminating sys-
tem and to the special, prefocus base,
100 watt lamp used. Contrary to what
might be supposed in a sound on film
machine, the straight line threading
system is quite simple and well adapted
to the needs of the average amateur
projectionist. A pilot light is provided
which illuminates the threading mechan-
ism whenever needed. The "one con-
trol" switch which takes the form of an
easily operated, knurled disk, is espe-
cially noteworthy in that it stops and
starts the mechanism and controls the
sound volume, at will. It protrudes
through a slot when the machine is
closed so that it is easily accessible
while operating. The self contained
amplifier and projector unit weighs
thirty two pounds, the loudspeaker unit
but twenty one. Thus, it will be seen
that the entire apparatus is definitely
portable and that the lightest weight is
centered in that unit which will be
moved most. The sound track used is of
the variable area type, a track which is
least susceptible to longitudinal scratch-
es, should they occur. The replacements
of exciter lamp and photocell are ex-
tremely simple to effect and the design
of the sound pickup system is such that
it operates most efficiently. It is stated
that many interesting sound film sub-
jects will shortly be made available for
this unit. Its price, complete, is $460.
Titles B A new line of titles is of-
fered to the amateur who
desires work on which special attention
is placed. It is the product of W. Stuart
Bussey, A.C.L., of Indianapolis, Ind..
featuring both printed and hand let-
tered titles in many varieties.
New ElectTOphot fl That Pioneer
photoelectric
exposure meter for the amateur, the
Electrophot, which Movie Makers had
the privilege first to announce, is now to
be issued in a more compact model with
a number of interesting improvements.
The Electrophot's new form may best be
described by comparing its shape to that
of a 100 foot roll of film in its mailing
carton. In fact, the new Electrophot,
sans leather case, may be comfortably
slipped into the camera carrying case in
one of the spaces provided for a spare
roll of film. Refinements in the meter
and control are said to give the new in-
strument greater flexibility. A reflex
finder is provided so that the tube may
be accurately trained upon the subject
from which the reflected light is to be
ADD PERFECT SOUND
To your favorite 35mm. portable projector. No need to scrap good portable pro-
jectors. SYNCROFILM sound on film heads are now made to operate with
any make of standard, portable 35mm. projector. No changes necessary to pro-
jector mechanisms. Easy to set up and operate. Smooth running, independent
drive insures true reproduction without waver or other distortion. Highest
grade materials and workmanship insure dependability and long service. The
low cost will surprise you.
(Dealers and Servicemen write for full particulars now)
MANUFACTURED BY
59 RUTTER STREET
ROCHESTER, NEW YORK
I
CINE ART FILMS
NOW SOLD DIRECT
$3.50
HUNDRED FOOT
SUBJECTS
Postpaid Anywhere in the U. S.
Brand New, Finest Quality
Prints — Hundreds of Sub-
jects to Choose From
length 50 feet to 2,000 feet, including scenic, comedy, cartoon,
drama, sport, educational.
TAI KIFQ 400 foot $15-00
InLIIILW (INCLUDING RECORDi * "*"*
WRITE FOR COMPLETE CATALOG
HOLLYWOOD FILM ENTERPRISES, INC.
6060 Sunset Blvd.
HOLLYWOOD CALIFORNIA
170
APRIL 1932
CUT
DOWN
FILM
WASTE
Thrift is the 1932 watchword. Hoarding and a panicky refusal
to buy are giving way to sane purchasing of the things we know
we can afford. • • • But this new kind of buying is not the
wastefulness of 1929. It is the watchfulness of 1932.
Millions of us who have earnings and income know that what
we used to waste will go far toward making life safe for those
of our people who have neither jobs nor income. • • • We
have a moral obligation to be thrifty.
You read Movie Makers. You use film. You spend money on
amateur movies. • • • Each foot of your film should be a foot
of results and not a foot of waste.
Movie Makers gives you suggestions and ideas, but these must
be general because they must serve as many readers as possible.
AMATEUR CINEMA LEAGUE membership aid is specific,
definite and personal. Use it for your problems that are never
just like those of anyone else. • • • When you plan your
pictures, League membership brings you a plan worked out for
you alone . When you meet difficulties, League membership
solves them by a direct answer to you.
You read Movie Makers now at a cost of $3 a year, whether you
subscribe or buy it each month. • • • League membership
costs $5 a year and brings Movie Makers without extra charge.
If you are already a subscriber, whose name is listed with us,
your membership will cost you only $2 additional.
Use the blank below and let League membership save you from
film waste. Be thrifty in 1932 !
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance for
$ , made payable to AMATEUR CINEMA LEAGUE, Inc., is enclosed in payment of
dues. Of this amount, I direct that $2 be applied to a year's subscription to MOVIE MAKERS.
(To nonmembers, subscription to MOVIE MAKERS is $3 in the United States and possessions;
$4.00 in Canada; $3.50 in other countries.)
MEMBERSHIP $5 a year (Canada $6)
LIFE MEMBERSHIP $100 in one payment and no further dues
Name Street
City State Country
One of the Amateur Cinema League's animated leaders is free with this membership. Please
state width you wish — 16 mm. — 9.5 mm. — 35 mm. A-32
measured. The dry cell renewal is ac-
complished simply by removing a cap
at the bottom of the instrument and
slipping new cells into a tubular aper-
ture. The finish is in black crackle and
a leather case with handle is provided.
Correction ■ In tne advertisement
of Farrell & Buck-
man, 364 Canal St., New York City,
published on page 125 of the March
issue of Movie Makers, a Model D De
Vry Projector was advertised for $15.00.
This was an error. It was intended
to announce a Model B for that price.
Paramount ■ "Professional service
for the amateur" is the
motto of a new editing and titling ser-
vice sponsored by the Paramount Edit-
ing and Titling Bureau of 1266 Boylston
St.. Boston, Mass.
Featured releases
for home and school
| This department is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examined by Movie Makers.
■ Bell & Howell Co.. Chicago, 111. Filmo
library releases for April, all recent films, each
approximately 400 feet in length, include In
And About Cairo, a study of native life; An-
cient Customs of Egypt, depicting Egyptians
with the habits and occupations of their an-
cestors; Morocco, The Mysterious, customs and
occupations of the people of Fez; Moorish Cus-
toms, curious blending of ancient and modern
habits; Tunisian A ctivities, a kaleidoscope of
Eastern life; htdia, India's quaint characters,
occupations and aspects; The Garden Of The
East, Japan's natural beauties, religious customs
and arts; Korea And Java, Life in the Far
East; The Holy City, a tale of Jerusalem with
quotations from the Bible; Vistas Of The Holy
Land, places and people of Palestine; Beyond
The Horizon, the cities, Sydney and Melbourne.
Q Eastin Feature Films, Galesburg, 111. Jack
And The Bean Stalk, 400 feet, 16mm., is
especially emphasized this month. Other in-
teresting subjects are Geysers And Hot Springs
Of Yellowstone National Park and Scenic Gran-
deur Of The Yellowstone.
B Eastman Kodak Co.. Rochester, N. Y. The
Cinegraphs offered by this library, including ad-
venture, natural history, animated model and
cartoon, World War, comedy, travel, sport and
general subjects, provide a wide range of splen-
did film fare. A new catalog is available.
| Empire Safety Film Co., N. Y. C Featur-
ing timely far eastern subjects, educational,
scenic and sport films are listed in the catalog
of this company available upon request.
■ H. C Film Service, Detroit, Mich. Ni-
agara Falls, 100 feet, described as an un-
usually beautiful film, is especially emphasized.
| Hemenway Film Co., Boston, Mass. Depict-
ing the life of Christ, The Passion Plary, de-
scribed as more elaborate than the Oberammer-
gau spectacle, is available in five reels.
■ Hollywood Film Enterprises, Inc., Holly-
wood. Scenic, comedy, cartoon, drama, sport and
educational films, in lengths from fifty to 2,000
feet, comprise this library's Cine Art subjects.
Both sound and silent films are available and
a complete catalog may be had upon request.
| Holmes Lectures, Burton, Inc., Chicago.
The travel films of this famous lecturer are
offered as ideal for inclusion in the home pro-
gram. An illustrated catalog is available.
| Kodascope Libraries, Inc., N. Y. C. Annap-
olis, with John Mack Brown, Jeanette Loff and
Hobart Bosworth, is a feature film on life
among the naval cadets. Feet Of Mud, with
Harry Langdon, is an amusing two reel com-
edy. Many Scrappy Returns, with Charlie
Chase, i6 another comedy that is especially em-
phasized for discriminating audiences. Over
500 other subjects are available from this li-
brary's branches in the U. S. and Canada.
| Reynolds, Ernest M., Cleveland. Hudson
River and Heart Of The Adirondacks, each 100
feet in length, are especially emphasized. Pixy
Pictures, designed especially for children; Auto-
gyros In Flight and Ride On A Locomotive, are
short length subjects. A catalog is available.
MOVIE MAKERS
171
Amateur clubs
[Continued from page 150]
Portland ■ The Cine Club of Port-
land, Oreg., is making ex-
cellent progress with its Oregon Film,
the cooperative picture of the state's
industries and recreation facilities.
Everet Philpoe has been appointed
chairman of the committee in charge
of gathering the material. At the latest
meeting Captain Frank Irwin of the
Portland police department screened
16mm. movies on traffic safety. This
year's officers of the club are Edward
J. Schon, A. C. L., president; August
Benz, treasurer; Sam C. Kerr, W. A.
Gill and 0. W. Roberts, directors. The
club continues to get excellent pub-
licity in Portland papers.
Chicago ■ January programs of
the Chicago Cinema
Club included the presentation of a
shadow drama that was photographed
during the meeting by members, the
projection of Making Optical Glass
And Lenses and a screening of To The
Far East And Back, a 4000 ft., 16mm.,
travel film by John A. Hutter, Jr. The
club's study groups have proved popular
and are being continued.
LoS Angeles ■ The Amateur Cine
Club of Los Angeles,
Calif., is holding an "uncut film con-
test" in which contestants enter 100
foot lengths of film just as they come
from the camera. The winner of the
contest will receive a geared head for
a tripod. In addition, the club holds
monthly film contests open to all mem-
bers. At a recent meeting, professional
cameras were demonstrated and E. F. G.
Chapman's scenic film of Yellowstone
National Park was screened.
Lens lecture ■ A talk by Warren
Greene, A.C.L., on
lenses and apertures was the feature of
the latest meeting of the Cinema Club
of Larchmont, N. Y. Making Photo-
graphic Lenses, a newsreel of New York
City by George Kirstein, A.C.L., and
When The Siren Blows were among the
film offerings. At an earlier meeting
Peter Lindemann, A.C.L., demonstrated
title making and the script for the club's
forthcoming production, Oh Yeah, was
read and approved by members. At the
annual election, Mr. Greene was chosen
president; Mr. Lindemann, secretary;
Harold Mayer, treasurer ; iiarold Smith,
chairman of production. This active
club is planning a series of talks on
special subjects by members, to be pre-
sented at the year's meetings. It has
invited the Cinemat Club of Mt. Kisco,
N. Y., as guest at a forthcoming meet-
ing and has prepared a folder present-
ing membership advantages. New mem-
bers from Larchmont, New Rochelle
and vicinity will be welcomed.
Greater Oakland ■ At a late
meeting
of the Greater Oakland Motion Picture
Club, a demonstration of enlarging
16mm. frames was given by Harold
Hock, A.C.L., and members' films were
screened. The club's official news letter
now includes discussions of professional
films from the amateur's viewpoint.
Durban ■ The newly formed Durban
Movie Club of Durban,
South Africa, has finished the begin-
ning sequences of its first production,
Dick King, a story of a South African
pioneer's epic ride through wild bush
country to secure relief for a belea-
guered town. The story was scenarized
by G. W. R. Le Mare, and Lyn Acutt is
cameraman, while J. Verster is assistant
producer. Mr. Acutt is chairman of the
club and F. C. H. Krause, secretary.
This club has laboratory facilities for
its movie making members.
Thriller ■ Having completed two
preliminary productions,
the Northeast Amateur Motion Picture
Club, Philadelphia, Pa., is now starting
work on its first amateur feature length
picture, a story of wild adventures in a
criminal's private sanatorium and a hair-
breadth rescue by plane. An airport at
Somerton, Pa., has been made available
to the club for the aviation scenes. The
picture is being photographed by Comly
J. Webster, A.C.L., and directed by
Robert Armstrong.
San FrancisCO ■ The projection of
an especially
made film, comparing the results ob-
tainable with one inch lenses, wide
angles lenses and telephotos, and the
demonstration of 35mm. portable sound
projectors were the attractions on a
recent program of the Cinema Club of
San Francisco. The club has been or-
ganized in 9.5mm., dramatic, scientific
and technical sections. The technical
section is divided into primary and ad-
vanced committees. The 9.5mm. sec-
tion, recently formed, has its own offi-
cers and its own projection programs
and there are some 275 prospective
members of this section. The whole
club recently secured permanent head-
quarters with adequate facilities for
meetings and storage of equipment.
Officers for this year are Fred W. Kolb,
A. C. L., president; Gordon Mitchie,
vice president; V. G. Skinner, A. C. L.,
secretary treasurer; Harold McKay,
corresponding secretary; Fred Dohr-
mann, A. C. L., chairman of the mem-
bership committee; H. P. Westler,
chairman of program committee.
Rushes ■ *n Scranton, Pa.. Robert B.
Dixon, A. C. L., recently
gathered twelve amateur movie enthu-
siasts at a luncheon meeting for the
purpose of discussing club organization.
140 B
uys
the best straight 16 mm. cam-
era in the world today !
Film 70A is just that. Made
by Bell & Howell, master
camera builders. Sold and
unconditionally guaranteed
by Bass.
Your old apparatus is worth
real cash as part payment on
this fine model or on any
Filmo camera or projector.
Free to you — latest 74 page
Bell & Howell Catalog and
19 page Bass Bargaingram
No. 208B on request.
BASS
CAMERA COMPANY
179 West Madison Street
Chicago
Camera headquarters for tourists-
drop in.
HERE'S RELIEF!
from "Heat Waves'
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
SPECIALIZING
in the
design and construction of cam-
eras, projectors and printers built
l-o individual specifications.
Equipment altered, rebuilt
or repaired.
Estimates furnished on all
cinematic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
112 East 73d St.
New York City
172
APRIL 1932
A New Light for
INDOOR MOVIES *5
complete with Reflector and Stand
This new reflector takes either the 400 T bulb or
the new 64 volt bulb, and gives equivalent light
from either. Takes any T type bulb up to 500 watt.
Just the thing for portraiture or indoor movies.
Reflector and stand sell regularly for $11.50. Our
price — only $5.00 while the supply lasts. The 64
volt bulbs are only $0.40 each. The 400 T bulbs
are $2.75 each.
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM-4F, Chicago, 111.
■fact
FICTION
FUN,
$4.50
SPORTS— SCENICS
COMEDIES— EDUCATIONALS
Send for our free catalog — listing a wide
variety of subjects of a fictional, educational
and humorous type. Here's an opportu-
nity to keep your film library up to date at
an exceptionally reasonable price. Also ori-
ental subjects, interesting in view of current
events.
EMPIRE SAFETY FILM CO.
723 Seventh Ave.
New York
NNOUNCING
the FIRST
COMPLETE SERVICE
Motion pictures made and
projected at any time — and
on time. Expert operators.
Individualized service.
We make pictures of
Industrial subjects
Weddings
Parties
The family
We project at
Churches
Entertainments
Lectures
Offices
Further information on request.
NEIL P. HORNE
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
LET'S
TRADE
/
You get your new subject cheap — and we
make $1.50 on the exchange — not all
clear profit, of course, but that's our busi-
ness. At any rate, we both make money.
Thousands of interesting subjects.
NAVILIO FILM RENTAL LIBRARY
To Members
5 to 9 reel feature $1.50 a day
Send for membership blank
Dealers: Write for interesting offer
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N.Y.
B The Newark Camera Club of New-
ark, N. J., has organized an amateur
movie committee under the chairman-
ship of A. J. Burdin. ■ The Cinema
Club of Springfield, Mass., has recently
held a dance and other social activities
to raise money for a forthcoming pro-
duction. ■ Among the films screened
at the latest meeting of the Cinema
Club of Columbus, Ohio, were Wild
Rice and Tell Tale Heart from the
League's Club Library. ■ In Philadel-
phia, Pa., the Northeast Amateur Mo-
tion Picture Club has completed the
script of its first long picture, a mystery
melodrama. B Amateur Players, a
newly organized production unit in
Bayonne, N. J., is preparing the script
for its first film. Alfonso Squeo, A.C.L.,
is president; B. Tarcia, vice president;
Mary Suares, secretary; Joseph Suares,
treasurer.
British amateurs ■ Projections at
recent meet-
ings of the Amateur Cinematographers'
Association at Newcastle included
Ethel's Operation from the Birmingham
A. C. A.;Resurrection, recently com-
pleted by the Sheffield Amateur Film
Club; a scenic of Scotland by G. W.
Weir, A. C. L.: a travel film by H. A.
Errington; a winter sports reel by Miss
1. Grey Turner. In addition to pro-
duction and other activities of the New-
castle A. C. A. during the past year,
sixteen members have submitted twenty
three outstanding films for screening at
meetings. The association is in a sound
financial position and is backed by a
strong membership. ■ The Manches-
ter Film Society has completed In The
Heat Of The Moment, a psychological
film study of the effect of heat and in-
sects on the mind of a man imprisoned
in a lonely room. The film, all interior,
required some unusual closeups of in-
sects. Peter A. Le Neve Foster, A. C. L.,
played the role of the imprisoned man
and Mrs. Foster filmed the picture. The
Manchester Society is planning a film
burlesque of the current professional
gangster pictures. ■ The Wimbledon
Amateur Cine Club, recently organized,
has completed its first picture, a short
all exterior comedy to be called Camp-
ing Days Are Here Again. A longer
picture is now being planned. At a re-
cent program B. B. Hill addressed the
club on the serious uses of 16mm. films.
H. C. Bealby is secretary.
The camera angle
[Continued from page 155]
nevertheless, an enormous amount of
footage is still taken from the conven-
tional waist or eye level positions. Very
probably, in a majority of such cases, no
better position could be found but, occa-
sionally, the angle should be varied if
for no other purpose than to avoid mo-
notony. The pleasure with which the
home movie audience greets a good shot
and an unusual angle speaks for itself.
Monotony can be avoided in films by the
insertion of general shots from very dif-
ferent and unusual angles and it can
also be avoided by filming familiar sub-
jects from angles other than the cus-
tomary ones. For example, upward an-
gles on New York skyscrapers are com-
mon enough but downward angles are
not so common, although a position in
a higher, neighboring building would
easily permit them. Speeding automo-
biles and trains have often been filmed
from upward angles, in spite of the dif-
ficulty in placing the camera, but
human beings are rarely filmed from
these angles, although scenes of sports
shot from similar positions would be
very effective. For example, an upward
angle in a near shot of a tennis player
as he serves would provide an interest-
ing variant to the usual scene. On the
other hand, diving is usually filmed
with an upward angle because of the
raised position of the diving board.
Hence, a straight shot made by filming
the action from an elevation across the
pool would be a pleasant variation. The
start of an automobile trip is usually
filmed from eye level when the camera-
man is on the ground; hence the
oblique angle to be obtained by filming
the departure from the second floor of
the house suggests itself.
Of course, one could carry this choice
of new and different camera angles too
far, but it is certainly safe for the ama-
teur movie maker about to film a scene
to ask himself if there is any other de-
sirable angle than the one from which
such scenes are usually made.
A fourth factor in the choice of cam-
era angles is the consideration that the
scene, once made, must fit in with other
scenes and that, therefore, it must carry
the story or theme along. For instance,
the worm's eye view of the baby, no
matter how cute, would not be very
effective if it was to follow a long shot
of the baby toddling down the hill. To
get full advantage of such a shot, it
should fit in with a sequence of the baby
doing something that would give a rea-
son for the upward camera angle.
The main point is won when one be-
comes conscious of the usefulness and
the beauty of well chosen camera angles
and is on the lookout for them. In se-
lecting them, one should consider the
composition of the resulting scene, the
desirability of emphasizing, or not, some
quality of the subject by means of the
angle, the possibility of selecting a new
and different angle to avoid monotony
and to bring an individual touch into
the film and the way in which the angle
shot will fit in with the rest of the reel.
You may have to climb a step ladder or
lie on your back on the lawn but a good
angle shot is worth the trouble.
MOViE MAKERS
173
Plots for odd shots
CARL P. ANDREE
THE ever present problem of the
amateur — what to do with odd
shots — finds another solution, for
one movie enthusiast learned that these
absolutely unrelated shots could be
woven into a story. All the odd shots in
his library were listed and classified.
They represented summer scenes, win-
ter scenes, views of aviation, interiors,
etc. Then came the task of building up
a continuity, depending solely upon
titles to keep the whole together. Here
is where ingenuity was needed. What
should be the treatment — romantic, seri-
ous, comic or satrical?
In this case, romance was selected,
and the lead title, The Old Refrain,
chosen. Seven titles were prepared and
the completed film ran in this fashion:
Following the main title, about two feet
of a panoramic view of a midwestern
city were shown. After this came the
title, To old New Orleans flew Frank
Gray, famous war ace. Then followed
about two additional feet of the view of
the city. Then came a long shot show-
ing an aeroplane about to land and,
next, a medium shot showing a trimo-
tored plane touching the ground. This
was followed by a closeup of Frank
Gray, the hero.
The next subtitle, Frank meets the
Queen of Mardi Gras, Lois Crane, was
then spliced in. Then came several feet
showing a flower parade with the cus-
tomary floats, followed by a closeup of
Miss Crane, the heroine. The next title,
The park — a stroll — moonlight — then
farewell, was followed by a four foot
strip, tinted blue, showing, first, the ex-
terior of a beautiful art museum located
in a city park and, then, a closeup of
two swans, gracefully swimming to-
gether and then parting.
The next title, Lois' mother approves
of fiance, Randolph Wells, a novelist,
was followed by an interior shot show-
ing another young man, comfortably
seated in an arm chair, smoking and
reading a book. Randolph and Lois
marry and visit Switzerland was the
next title, followed by several winter
shots of a frozen waterfall and views of
snow covered hills.
Then came the turning in the story.
A quarrel — Randolph walks alone ■ —
Lois skates alone was followed by a long
shot of a young man walking alone in
deep snow and, then, another long shot
showing skaters on a large lake. Then
another title, Lois unexpectedly meets
Frank — memories of Mardi Gras ■ —
elopement follows, followed by a foot
or two of the flower parade scenes and
a medium shot (followed by a long one)
of another aeroplane taking off. Then
the usual, The End. The film was later
edited carefully, cutting down footage
where scenes were too long. The fin-
ished reel, including titles, was about
one hundred feet.
It will be seen that the shots bore very
little relation to each other and that the
subtitle often fell short of making a
completely convincing link, yet the task
of assembling this unrelated material
was found to be most interesting. No
new shots whatever were taken; every
section of film used had been taken
months before with no thought of any
such later use.
It will also be noted that in The Old
Refrain only two closeups of persons
were shown. These could have been any
two of the amateur's friends and might
even be changed to suit the particular
audience viewing the film. In fact, just
such a change ivas made, much to the
entertainment of two different groups.
Musical accompaniment of Kreisler's
The Old Refrain added much to the ef-
fectiveness of the presentation.
Educational films
[Continued from page 154]
Coast Artillery; films of cadet training
methods at the United States Military
Academy, West Point, N. Y.; films of
exhibitions of army ordnance of the lat-
est types held at the Aberdeen Proving
Grounds, Aberdeen, Md., and many
other short subjects. Mr. Gilbert has not
only photographed the subjects but
edited and titled them to enhance their
educational value. ■ "We own our film
library because we find it is cheaper to
possess than to hire worth while mate-
rial," reports Abraham Krasker, Di-
rector of Visual Education, Quincy,
Mass., Public Schools. Dr. Krasker
points out that one teacher in each
school building serves as director of
visual education for the teachers of the
building, her purpose being to keep in
touch with the needs of each teacher, to
place and receive orders and to keep a
record of the use of materials. Teachers
who would find material useful in their
work originate the order for and inspect
such material for approval before pur-
chasing. Dr. Krasker reports the essen-
tials of the Quincy System have been
elaborated in a mimeographed paper, a
copy of which is available to all who
may be interested in it.
Welfare ■ Health promotion work
among the Indians of the
Navajo Reservation is the subject of a
16mm. film being produced by Margaret
McKittrick, A.C.L., Santa Fe, N. M., in
the service of the Eastern Association
of Indian Affairs.
YOUR
FAMILY FILMS
become priceless
with time,
also brittle from
dryness.
Keep them safe
and lasting in
FILMADOR
the thermo-humidor film safe
iNNER
CONTAINER
which provides ideal film stor-
age conditions in any locality,
regardless of atmospheric con-
ditions.
Filmador is built of heavy
aluminum, has two containers,
one within the other, with a
dead air space between the
units. Requires minimum of
attention.
Holds three J
400 ft. reels
of 16mm. film.
5
.00
WILLOUGHBYS
110 West 32nd Street
N. Y.
174
APRIL 1932
USE
CRfl-IG-
SPLICED FILM
for better projection!
Because there is no white or dark line
between frames, Craig spliced film
never flickers on the screen, and the
straight splice runs through the pro-
jector without a clicking noise.
Splicing on a Craig is quick and easy
. . .only four simple operations are re-
quired. Emulsion is removed by the at-
tached scraper without wetting film.
Inspect a Craig splicer at your regular
Cine Dealer's store. Price $15. OO
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
KODATITLES
for your
Winter Movies
Title your Winter
pictures now while
the incidents are
fresh in your mind.
Our quality titles
will make them all
the more enjoyable
when projected
later on.
Send for illustrated
booklet.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
Civic ■ Films of famous fires are, in
future, to form part of the
training of French firemen, it is re-
ported. The Paris fire brigade has a
camera mounted on a side car which is
to be used whenever big fires occur.
Films so obtained will be exhibited be-
fore young firemen to demonstrate vari-
ous methods of fire fighting. They will
also be studied by the staff of the Regi-
ment of Sapeurs Pompiers who may
thus detect faults in technique and sug-
gest improvements. The cinema is also
to be used to reconstruct some of the
great fires of the past by means of ani-
mated drawings. The films will be re-
produced in sufficient numbers to be
shown before every important fire bri-
gade in France.
Church ■ The Sacred Heart Church
of Highland Falls, N.Y., re-
ports purchase of 16mm. talkie appara-
tus. Enabling the projection of pictures
as large as sixteen feet wide accompa-
nied by sound or volume sufficient for a
church auditorium seating up to 3000
people, 16mm. equipment is indeed
qualified to increase church attendance
by providing palatable educational and
entertainment fare.
PPpC CM K/IC mm Tliese films, on 16, unless
I I\l_l_ I lUIVIJ ■ 35mm. is specified, are
Loaned free except for -payment of postage. Re-
quests should be addressed to the Amateur Cin-
ema League, Inc., 105 IV. 40th St., N. Y. C,
and films desired mentioned by titles. Requests,
on receipt, are forwarded to distributors who
get in touch with applicants and make booking
arrangements. Specific dates cannot be promised
until the applicant hears from the distributor.
Do not send postage with requests; when it is
required, the distributor will notify the appli-
ca/it. Of course, films should be returned post-
paid. Some films are limited to groups, in which
cases it is so stated in the reviews, hi applying
for films limited to groups, the type and prob-
able size of the audience must be mentioned.
Films are not available outside of the United
States, unless so stated. Any avnaleur may apply
for films reviewed as this service is not limited
to Amateur Cinema League members.
■ Men In The Making, two reels, 16 and
35mm., reviewed through the courtesy
of the Goodyear Tire & Rubber Co.,
concerns the trip of a Boy Scout troop
to Civil War battle fields, Mt. Vernon
and Washington, D. C. The film con-
tains much scenic beauty and portrays
Scout comradeship and adventure.
H The World Of Paper, two reels, 16
and 35mm., reviewed through courtesy
of the General Electric Co., embraces,
in pictorial history, the arts of writing,
printing and paper making. It shows
primitive races cutting records on stone,
Egyptians preparing papyrus and Chi-
nese making the first paper used by
man. The picture culminates in the
largest modern paper mill with its elab-
orate machinery and immense produc-
tion. This film is available to groups.
■ First Aid To Agriculture — Better
Seeds, four reels, 16 and 35mm., re-
viewed through courtesy of Ray Bell
Films, Inc., shows how a scientific lab-
oratory and modern seed cleaning ma-
chinery assure first class farm seeds.
The audience is taken on a trip through
a modern seed house and shown how the
best seed is selected and prepared for
next year's crop. Available to groups.
■ The Photo-Offset Process Of Printing,
one reel, 16mm.. reviewed through cour-
tesy of the Polygraphic Company of
America, shows steps in a process by
which it is possible to print without
type or cuts.
The cli
e clinic
[Continued from page 151]
chart are seen the figures 0, 2, 4, 6, etc.;
these represent the distance from the
camera to the title card or other object
in inches. Each unit represents two
inches and the entire scale is further cal-
ibrated in foot intervals for convenient
reference. The vertical axis is also divid-
ed into inches; here every division rep-
resents one inch. Now. suppose we wish
Lymvood M. Cliace
Moon dance — another unique
effect described by Lynwood
M. Chace in note on page I5l
to find out how far away from the lens
we should place a title card of fifteen by
twenty inches to be fully included.
Taking the smallest dimension of the
card as a reference, find 15 on the ver-
tical scale. Follow along the horizontal
line from this point to its intersection
with the "height" diagonal, since 15 is
the card's height. The numeral on the
horizontal axis directly below this point
of intersection (in the present problem.
52) will represent in inches the correct
distance from camera to card. An-
other time we might have a title
card or background again fifteen inches
in height but of more than twenty inches
width, say twenty five. How can one
determine on the proper width to which
to trim the card? Following out the
same process as above, we find the
camera distance once more as 52 inches.
Returning to the point of intersection of
the horizontal line 15 and the "height''
MOVIE MAKERS
175
Lynwood M. Chace
MOVIE MAKERS illustration
used as title background
lettered by Art Title Cuilde
diagonal, we travel upwards along the
indicated vertical line till it crosses the
"width" diagonal. The numeral on the
vertical axis opposite this intersection
(in this case, 20) will represent in
inches the correct size to which the card
should be trimmed to have the standard
three by four frame proportions.
Achieving effects
[Continued from page 147]
the better. However, a handy little
iris device, automatically centered and
adjusted, is sold by a leading firm for
use with its own camera. The iris,
properly adjusted, shows the picture
on the screen bounded by a circular
black area which may be fixed or
variable. The device is valuable to
concentrate the interest on an object
in the center of the frame at the begin-
ning, end or any part of the picture.
The usual iris is fixed so that it closes
down the center of the picture only,
but a larger and more professional
The Clinic note on page
174 explains this chart
for titles and closeups
type of floating iris is available which
enables the operator to concentrate the
"spotlight" effect of the iris on any
portion of the frame. The amateur may
make his own iris by building a suitable
support to hold an iris diaphragm
taken from an old still camera lens.
Such an iris should be approximately
one to two inches in diameter and sup-
ported from one to four inches from
the lens. Iris effects are generally un-
suitable with telephoto lenses, whereas
fades and dissolves may be performed
with lenses of any focal length.
The lap dissolve, that very beauti-
ful effect so desired by amateurs, is,
unfortunately, rather difficult to per-
form under most circumstances. In
effect, it is a simultaneous fade in and
fade out, each made at the same rate
of speed on the same length of film.
In other words, a fade out is performed
on one scene, the film is rewound and
a fade in is performed on a new scene,
starting at the same place and made
at exactly the same rate. Thus, as one
scene disappears, the other scene ap-
pears over it, in the same proportion.
To accomplish this, the average ama-
teur technician must note with great
care the footage reading as he starts
to fade out, so that he may know ex-
actly the length of film taken by the
fade. He then takes his camera into
the darkroom, unthreads the film and
rewinds it so that he may replace it in
the same position as when the fade be-
gan. He then takes the camera out and
trains it on the new scene, executing
a fade in on this scene as nearly as
possible at the same rate at which he
made the fade out. A lap dissolve in
which one action scene merges into
another will result. If the amateur
camera could be cranked backwards, it
would be seen that the darkroom opera-
tions could be dispensed with, since
all that would be necessary would be
to cover the lens while the film was
run back to the beginning of the first
*>
N
SS
«l
•n *
s m
1 $
/
*" «o
*- v
vB
V*
<
.E v
<,
vr
K
T><0
■0
/
'C
5 uj
\
i
*
■a N
ii-
>l
X
£*
C
H
A
R
T
Sh
ow
IK)
II*
!CL
ut
Ef.
A
PA
IS
p
w
cL
1SL
Vt
>Jt
V/7
H
a
ve
M
Q
a
&V
s
'/
/
'■f
Rr
■rr
X
0
N
I'
K
ES
i
?/
0
1
1
Fl
f-l
bl
Si
Oi
z
z
I
Fl
b
3
0
3
4
3
i
Ft
s
4
2
4
6
4
6
F
0
r
5
4
6
S
5
i
F
Z
r.
b
6
7
7
ft
4-
7
s
2
2
7
i
FT
(,
i
0
1
4
For
THE ELUSIVE VIEW
Tele-MegorandTrioplan
TELEPHOTO LENSES
f/2.9 and //4
These telephoto lenses may be com-
pared to powerful binoculars which
bring the view so many times nearer.
They define the distant object clearly
and concisely and are an indispensable
cinematic accessory. Tele-Megors and
Trioplans represent the very latest ad-
vances in telephoto optics and are ad-
vantageously provided in compact focus-
ing mounts.
Focal Lengths: 2 inches to 9 inches.
Literature on request.
Hugo Meyer lenses are
standard equipment on
Victor 5 Cameras.
HUGO MEYER b CO.
245 West 55th St. New York.
Works: Goerlitz, Germany.
Distance from camera to card.
Buy Binders
for
BEAUTY
($1.50 each. 30c additional
for foreign postage)
MOVIE MAKERS
Binder Dept.
105 W. 40th St. New York City
176
APRIL 1932
EQUIPMENT FOR SALE
B READY and waiting . . . Bass Bargaingram
No. 20S. Nineteen pages crammed full of bar-
gains. Save money. A few offers from this
money saving list: new DeVry Model G pro-
jectors with cases at $37.50; new Risdon 16mm.
cameras, 3.5 lens at $22.50; Bell & Howell Filmo
70A with case and Cooke lens, §77.50; Victor
Model 3, regular and slow motion, with lens,
$65.00. Write or wire for your copy at once.
BASS CAMERA COMPANY, 179 W. Madison
St., Chicago, 111.
| CLOSING OUT — Cameras and projectors,
new and used. Cine-Kodak B //1.9 (used),
$65.00; Filmo 70 A //3.5 (used), $72.00; Cine-
Kodak B //6.5 (used), $19.50; E. K. Koda-
color Screen (new), $10.00; Ampro C, 300 watt
(new), $155.00; Victor model 3 //3.5, case
(new), $95.00; Victor model 3 turret, //3.5,
foe. mt. (new), case, $130.00; Kodascope B,
250 watt, black (shopworn), $135.00; Bell &
Howell projector, 375 watt, guaranteed (used),
$100.00; Bel! & Howell 57 A projector, 250
watt (new), $155.00; Bell & Howell 75 camera,
case (new), $79.50; DeVry 35mm. standard
camera, //3.5, case (used), $77.50. All
guaranteed. Offered subject to prior sale.
LUGENE, INC., 600 Madison Ave., N. Y. C.
■ DEVELOP AND REVERSE your own 16-
mm. films for 25c. per hundred feet with our
thoroughly practical, new process and equipment.
100 foot processing reel and tank with formula
and instructions, $39.00. Chloride film, $1.50
per hundred. 16mm. printing machine, $68.00.
Send for sample and description. R. B. ANNIS
ELECTRICAL APPARATUS, 1505 East
Michigan St., Indianapolis, Ind.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ BARGAINS; DeVry projector, model C,
$32.50; DeVry projector, model D, $36.50; De-
Vry projector, model G, $27.50; DeVry camera,
model 57, $27.50; Sept camera, //3.S lens,
$22.50; Capitol continuous projector, $75. Shipped
C.O.D. on 25% deposit. NAVILIO, 1757
Broadway, Brooklyn, N. Y.
■ 16MM. FILMAGRAPH camera and Q. R. S.
projector — combination only $9.95. 16mm. Chap-
lin, Felix, etc., films, $.75 each. Reversible pan-
chromatic film, $2.55. Bargain lists. HOME
MOVIE SERVICE, Box 32, Easton, Pa.
■ PHOTO LAMPS; portable twin arc, con-
tinuous burning, uses 6mm. carbons; de-luxe
model, nickel plated, dull finish, $6.00; black
enameled finish, $5.00. Single arc, black
enameled finish, $4.25. A. F. JOHNSON, 6136
Liebig Ave., N. Y. C.
fl| EASTMAN camera and projector, with
extras; cost five hundred fifty dollars; sell
cheap; same as new. CLARENCE SMITH,
U. B. Bldg., Dayton, O.
■ 1 CINE-KODAK camera, mod. B //3 :5 lens
with carrying case. 1 revolving back Graflex
camera, series B 4 x 5, with Kodak Anastig-
mat lens f/4.5 and leather carrying case. 2
Graflex film pack adapters 4x5. 6 Graflex cut
film holders, 4x5. 1 Kodak pictorial diffusion
disk for 4x5 Graflex. All the above in first class
condition. About 2,500 ft. of film has gone
through the Cine-Kodak and the Graflex used
very little. Will sell the lot for $100 cash.
FRED'K STILLWELL, Box 596, Huntington,
L. I., N. Y.
■ CINE-KODAK A, equipped with 400 ft.
magazines, spare magazine, slow motion attach-
ment, electric drive, reverse take-up, f/1.9 lens,
tripod. Complete $450. — Will accept Filmo 70
D or telephoto lenses as part trade. BOX 137,
Movie Makers.
■ VICTOR Animatophone, complete, $175
cash; early model, used only for demonstration.
HOME FILM LIBRARIES, 500 5th Ave.,
N. Y. C.
■ ONE HUNDRED DOLLARS allowance for
your used Filmo camera on a brand new Bell
& Howell 70-DA outfit. Fifty dollars allow-
ance for your used model C projector on a
new model K Eastman projector with case.
Special sale of 16mm. subjects, brand new:
Mickey Mouse & Felix Cartoons, 100 ft., at
$3.50 each. 400 ft. reels of Felix Cartoons at
$15.00 each. NATIONAL CAMERA EX-
CHANGE, 5 South 5th St., Minneapolis, Minn.
■ FIRST $36.00 check buys $60.00 Eastman
Kodascope C. Used only few times. Need
larger machine for Kodacolor. REV. J. AN-
SORGE, Manning, Iowa.
■ 16MM. MOVIE cameras and projectors. For
the home, school, church and business organiza-
tion. Literature free. D. F. ELDER & COM-
PANY, Dept. 16, Chelsea, Mass.
CLASSIFIED
ADVERTI SING
B All classified advertising copy will be care-
fully scrutinized but Movie Makers cannot be
held responsible for errors nor statements made
by classified advertisers. Box numbers are pro-
vided by Movie Makers as a convenience to
readers and classified advertisers alike. Mail
received for these box numbers is forwarded by
Movie Makers unopened to the advertisers con-
cerjied. Remittances, if a?iy, to cover goods
offered for sale should be made to the adver-
tiser and not to Movie Makers.
■ DEPRESSION BARGAINS: Kodascope B,
250 watt, barely used, $125.00. Library attach-
ment, $15.00. Kodascope A, demonstrator, $75.00.
New Cine-Kodak K, 1.9, $98.00; New K, 3.5;
$72.00; B 1.9, $75.00; B 3.5, $35.00. New Filmo
title outfit, $18.00. Filmo 75, $49.00. New
continuous attachment, $60.00. DeVry latest
model G, $30.00; with camera $45.00. Standard
studio 35mm. cameras: Pathe, $85.00; DeBrie,
$125.00. Thousand dollar Holmes sound on
disc, like new, $200.00. DeVry 1,000 watt
sound on film, $350.00. Ship subject to inspec-
tion if you will pay express. JAMIESON FILM
LABORATORIES, 2212 Live Oak St., Dallas,
Tex.
■ WHILE THEY LAST, 100 and 200 ft.
Pathe pictures, only $1.75 per 100. //6.5 Cine-
Kodak, $23.00. SCRANTON HOME MOVIES
LIBRARY, 316 N. Washington Ave., Scranton,
Pa.
| MOVIE FOLK — 16mm. cameras and pro-
jectors bought and sold. Films, bought, sold,
exchanged. Complete movie service at CHAP-
MAN SALES & SERVICE CO., INC., 56
Godwin Ave., Ridgewood, N. J. Phone Ridge-
wood 6-2344.
■ BARGAINS, slightly used Filmo continu-
ous projector attachment with 12 x 15 Trans-
Lux screen and stage, $50.00. Filmo 57 G. G.
projector, $150. Filmo 75 camera with case,
$75. Filmo enlarger, $20. J. P. CONBERE.
1227 W. Walnut St., Shamokin, Pa.
| A COMPLETE movie camera, projector and
screen outfit for less than the cost of an ad-
vertised camera. New Catalog No. 28F for
the asking. Authorized Kodascope Library dis-
tributor. NORMAN-WILLETS COMPANY,
318 West Washington St., Chicago, 111.
■ YOUR OPPORTUNITY to get a complete
photographic outfit dirt cheap. Must sell the
following: Ernaman reflex model 2 (double ex-
tension), equipped with Ernotar f/4.5 lens,
Distar & Proxar auxiliary lenses and filters and
with leather case. Cost $262. Now $100 and
looks brand new and in perfect condition. Ica
Kinamo 35mm. motion picture camera complete
with Carl Zeiss Tessar f/2.7 lens, Distar and
Proxar aux. lenses and filters, spring wind
mechanism, stand for titling, etc. Cost $175.
Yours for $65. Tripod Ica in case with pan
head to fit either of above cameras, $5.00. Cor-
rectoscope, $5.00. Stout case made to order for
above equipment and accessories $5.00. Stineman
printer for 35mm, developing outfit and dry-
ing reel, all for $30. This apparatus new. Re-
wind stand with 35mm. Griswold splicer — all
for $10.00. Will ship all the above to single
buyer for $205.00. LIEUT. R. C. WRISTON,
Chanute Field, Rantoul, 111.
■ ONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOD CINEMA STUDIOS, 1608 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
■ ZEISS KINAMO S-10, //2.7 Zeiss lens S
case, $40; Ansco 16mm. camera, //3.5 lens
$50; Victor model 3 camera, //3.5 lens, $50
Ensign Auto-Kinecam, f/2.6 Cinar lens & case
$57.50; Keystone 16mm. camera, f/1.9 lens
$37.50; QRS DeVry 16mm. motor driven projec-
tor & case, $10; Filmo projector, 200 watt bulb,
former model, $70; Filmo projector, 200 watt
bulb, variable resistance & ammeter, $95 ; Duo-
graph projector, motor driven & case, $15; Model
G DeVry projector, 200 watt bulb & case, $25;
Keystone E-74 projector, 200 watt bulb & case,
$32.50; Meyer Plasmat lens set, 3y2", 454"
and 6" elements in case with filter & eyepieces,
$22.50; 1" f/2.6 Cinar lens in focusing mount,
$12.50; 1" //3.5 Cooke lens in fixed mount,
$7.50; 20mm. //3.5 Cooke wide angle lens,
$22.50; 2" //1. 8 Wollensak Velostigmat, $39.50;
Electrophot exposure meter, $35 model, $20;
Thalhammer tripod head, only, $10. WIL-
LOUGHBY'S, 110 W. 32d St., New York.
EQUIPMENT WANTED
■ WANTED — 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
WANTED: Thalhammer Jr. tripod; Craig
splicer — rewinder combination; Victor or B & H
editor and title writer. What else have you?
Must be perfect condition and bargain. MAJOR
H. S. RUSH, Hospital, Schofield Barracks,
T. H.
FILMS FOR RENTAL OR SALE
■ 16MM. PICTURES, $3.65. Lindbergh— And
His Plane, 10 feet, 40c. Cameras, projectors, tri-
pods, splicers, screens, panchromatic film, 20%
discount. Titles. LORENZ FILM PRODUC-
TIONS, Madison, Ind.
■ 35 MM. NEGATIVE fresh Eastman and Du-
Pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75
each. Sept rolls, 1 dozen, $3.00. Also lengths
from 50 ft. to 400 ft, at prices ranging from
1% to 2%c. per foot. WARRANTED FILMS,
INC., 729 Seventh Avenue, New York City.
■ MICKEY MOUSE The Hunter, 100 ft.
16mm. silent, complete, $3.95, postpaid. JONES
HARDWARE CO., Movie Dept., Shamokin, Pa.
■ SELECTED 16mm. 100 ft. new films, $3.75.
Send for list. Art reels our specialty. LIN-
COLN PHOTO SERVICE, 1136 Lincoln Ave.,
Utica, N. Y.
■ PIXY PICTURES, 16mm. short subjects (25
ft.) complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E.
191st St., Cleveland, Ohio.
■ FILM RENTALS. Mail order plan allows
use one week. Excellent Spice Of The Program
comedies featuring Lupino Lane, Lloyd Hamil-
ton, Larry Semon, Big Boy Juveniles, Felix,
Christie, Tuxedo, Cameo Comedies. Also Our
Gang Comedies. Weekly rental, $1.25 per reel.
No deposits. Catalog and particulars. REN-
TAL LIBRARY, 325 North Park, Tucson, Ariz.
■ LOWER PRICES and added features with
our quality negative-positive process. Write to-
day for literature, samples, catalog of free
films, bargains in equipment. STRICKLAND
INDUSTRIAL FILM CORP., Atlanta, Ga.
■ THE YORKTOWN PAGEANT 400' of care-
fully edited and titled 16mm. film, depicting
this historical celebration in all its immensity.
Price, $25.00, complete with reel and can. Should
be in every movie maker's library. G. L. HALL,
OPTICAL CO., 257 Granby St., Norfolk, Va.
■ FILMS FOR SALE. 16mm. films and pro-
jectors bought and sold. Large selection come-
dies, cartoons, scenics. ZENITH FILMS, 630
Ninth Ave., N. Y. C.
■ SEND FOR FREE LIST of our Illini Home
Movie Rental Library for members or nonmem-
bers within a 1000-mile radius. ILLINOIS CAM-
ERA SHOP, Galesburg, 111.
■ SURFBOARDING! On The Waves At Wai-
kiki; 150 ft., 16mm., price $9.75. Featuring
Nighthawk, king of dog surfboard riders. GUY
D. HASELTON, Christie Hotel Bldg., Holly-
wood, Calif.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE. EXCHANGE PRICES:
400' reel. $1.00; 200' reel, .50; 100' reel, .25.
On the 100' and 200' reels add return postage.
EVERY REEL SENT OUT CARRIES A
GLTARANTEE OF 100% SATISFACTION.
QUALITY HAS NO SLTBSTITUTE. CINE
CLASSIC LIBRARY, 1041 Jefferson Ave.,
Brooklyn, N. Y.
■ EXCHANGE your 16mm. library films at
the rate of $1.50 per 400 feet, plus postage.
Every reel sent out is guaranteed. NAVILIO,
1757 Broadway, Brooklyn, N. Y.
FILMS WANTED
■ WANTED. Will buy for cash 16mm. library
films in any quantities. NAVILIO, 1757 Broad-
way, Brooklyn. N. Y.
■ WILL BUY 16mm. library film in 400 ft.
lengths. Give complete information as to sub-
jects, condition and price. BOX 135, Movie
Makers.
TRADING OFFERS
H TARGET pistols, shotguns and good fire-
arms accepted in trade on motion picture and
photographic equipment. Good allowances for
your used movie equipment on the new JL Filmo
projector, Eastman Model K, etc. NATIONAL
CAMERA EXCHANGE, 5 South 5th Street,
Minneapolis, Minn.
MOVIE MAKERS
177
(Classified continued)
MISCELLANEOUS
| PRINT your own movie titles, stationery,
bookplates, Christmas cards, pamphlets, linoleum
blocks, etc. Junior Press §5.90, larger $11, ro-
tary $149; print for others; easy and interesting';
rules sent. Write for catalog of presses, type,
paper, etc. KELSEY COMPANY, M-50, Meri-
den, Conn.
| TITLES — 10c for four words on patterned
background; 2^c word thereafter. Trick titles,
10c word. Request literature. Forty samples.
NOVEL CINE TITLES, 647 Franklin Ave.,
Council Bluffs, Iowa.
■ TITLES, 2c per word. Kodacolor 4c per
word. End title free. Editing. Map animation
specialists at reasonable rates. Write for sam-
ples. BOX 136, Movie Makers.
■ TYPEWRITTEN TITLES — mottled back-
ground, 2c per word. Minimum charge per
title, 20c; minimum order, $2. Samples. Remit
with order. H. RIDDEL, 2923 N. Prospect,
Milwaukee, Wis.
■ MOTION PICTURE APPARATUS built,
designed, repaired. Lenses fitted on all cam-
eras. Experimental work. Lowest rates. D.
DONCASTER, 5-13 Borden Ave., L. I. City,
N. Y. IRonside 6-8767.
George Washington
BICENTENNIAL SPECIAL
On 100 ft reel, $ 5.00
On 400 ft. reel, 20.00
Order through your dealer
TO DEALERS EVERYWHERE
We have several plans for silent and sound
libraries, enabling you to handle a large
number of subjects on a small investment
basis. Write us for proposition.
CHURCH-HOME-SCHOOL FILM
LIBRARIES, INC.
91 Seventh Avenue New York, N. Y.
50% OFF
I6mm film 91/
oc iy2c
£^g Foot I Foot
400' SOUND 8L
R T
3?
UP Cn Of/ npr Standard Equipment
TO U U /o U I T Film and Accessories
9'/2mm film | A
16mm
Film
Spec.
$14.49
B.H. 57G Projector (used) $88.00
100 foot- 16mm Sound on disk 5.49
Our specialty: 16mm silent-sound educa-
tional & travel film
CpCC Pathex "Kid" projector
rlXLL with purchase of 12 films
We convert silent projectors To SOUND!
LARGE LOCAL LIBRARY
MogullBros.,1944BostonRd.,N.Y C.
Mail orders filled day of receipt! Before
you buy — always get our lower price!
NIAGARA FALLS, 100 ft., $2.90 16mm
A beautiful production
16mm. developing, printing, tinting and duplicates.
TITLE SERVICE
with moving or still backgrounds.
Ask for price list and receive two The End
titles free.
H. C. FILM SERVICE
12191 Ilene Ave. Detroit, Mich.
fl ,S;"»»*f&'»
LETTERS
* <AOO
Three sizes. ^^ 8fi!^L^
WriU for literature. ^^^^^^
NORTHEAST PRODUCTS CO^
Tewksbury. Mass.
How the frontispiece
title might be lettered
executed by Ralph R. Eno
fade out, preparatory to the second fade
in. At present, there are three types of
cameras commercially available in
which back cranking, or backing up the
film for double exposure purposes, may
be done to a limited extent. It is also
possible to rebuild certain types of hand
cranked 16mm. cameras for running the
film forward or backward.
The remaining before the lens ef-
fects are simply various openings or
transparencies placed in the picture
field at various distances in front of
the camera. It must be remembered
that the greater the distance from the
effect surface to the lens, the better
defined the effect will be. For instance,
in using a matte opening (diamond,
heart or other shape) cut from black
paper and held in front of the lens,
the area of the frame which holds this
cutout (called a matte) should be not
less than two inches wide and an inch
and a half high. It should be held
about five inches in front of the lens
on a rigid framework called a matte
box. Such a device, complete in every
detail, is available for amateur work.
The white iris is simply a translucent
matte with a clear opening in the center.
It gives the iris opening a border of
gray instead of black.
The fog or diffusion effect may be
had in varying degrees by using mattes
of various materials. A matte made
of cheesecloth stretched in a frame will
give an interesting diffusion effect. Fog
filters for introducing the effect of haze
into a scene may be purchased in vary-
ing degrees of density. For diffusion
effects, there are also caps which fit on
the lens front and even special lenses.
The fifty fifty filter may really be
classified as an effect device, since it
should be used in some form of matte
box. This filter has two portions with
a definite line of demarkation between.
The upper portion usually gives the
denser filtering effect and, by proper
placing, may be used to give a dense
filter effect in the sky, the while leaving
the foreground much more lightly
filtered. It is chiefly useful for land-
scapes and must be used before the lens,
not attached near the front element.
FREE 16mm. CATALOGUE
Write today for our Big Free April Catalogue
of new and used 16mm. subjects at bargain
prices and our list of splendid films available
in exchange for your present subjects.
EASTIN FEATURE FILMS
GALESBURG. ILLINOIS
Distinctive Printed Titles
Plain and original art backgrounds, 25c upward.
Pictures and maps copied. Samples gratis.
Correspondence invited. Personal attention given
your cine and title problems. Processing 100 foot
positive films, $1.25.
W. STUART B USSEY
814 N. Meridian St. Indianapolis, Indiana
Lincoln 1207
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBERAMMERGW stage play-
RELIGIOUS -INSPIRING - EDUCATIONAL
5 REELS -2000 FT. ~ 16 MM.
(COMPLETE STORV ) Price #150.00
Buy OR RENT FROM DEALER OR DIRECT FROM
msmsMMssi
37 CHURCH 5T.
BOSTON, MASS .
16 MILLIMETER
READY MADE
ART TITLES
25c EACH
Suitable for many
popular subjects. If
your dealer cannot
supply you, write
to us for list and
sample.
MADE-TO-ORDER
TITLES
Hand-lettered titles
with air-brushed
backgrounds
3c
per word.
Minimum, 25c per
title; $1.00 per order.
Se?id
r trial
today.
rder
BURTON HOLMES LECTURES, INC.
7S10 N. Ashland Ave. Chicago, 111.
New DeVRY 16mm. Projectors
Model B, $48 Value $15.00
Model C, $98.50 Value 35.00
DeVry Cameras, $57.50 Value 27.00
Home Talkie Units, $49 Value 19.50
Shipped C. O. D. on 25% Deposit
FARRELL & BUCKMAN
364 Canal St.
New York
ART TITLES 3CA word
20 Smart Styles
Art borders for all occa-
sions, without extra
charge. 8 words per
title, 25c. Extra words
3c. Min. order $1. Free
"The End." Write for
folder.
6208 N. Leavitt St.. Chicago
178
APRIL 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Garry This Magazine — VISIT THEM !
UNITED STATES
ARIZONA
Phoenix: Studio of Sound, 812 E. Washington St.
Tucson: T. Ed. Litt, Cor. Congress & Stone.
ARKANSAS
Texarkana: H. V. Beasley Co.. 200 E. Broad St.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2S15
Bancroft Way.
J. F. Hink & Son, Shattuck & Kittredge.
Fresno: Potter Drug Co., 1112 Fulton Ave.
Shaver Lake Photo Shop, 910 Arthur Ave.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Mowry's Photo Service, 223 S. Brand Blvd.
Hollywood: Bell & Howell Co., 716 N. LaBrea
Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
Hollywood Film Enterprises, Inc., 6058 Sun-
set Blvd.
Long Beach: Wier's Photo Shop, 142 Pine
Ave.
Winstead Bros. Inc., 244 Pine Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
Schwabacher-Frey Stationery Co., 734 S.
Broadway.
Tappenbeck & Culver, 10958 Weyburn Ave.,
Westwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
F. W. Reed Co., 176 E. Colorado St.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Pedro: Sunset Photo Supply, Inc., 319 W
6th St.
San Rafael: Webb & Rogers, 4th and B. Sts.
Santa- Ana: Stein's Stationery Store. 307 W
Fourth St.
Santa Barbara: J. W. Collinge. 1127 State St.
Tri Counties Electric Supply Co., 27 Parker
Way.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
Ventura: Bartlett Co., 412 E. Main St.
West Hollywood: , Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores. Inc., 626-16
St.
Ford Optical Co., 1029 16th St.
Haanstad's Camera Shop, 404 Sixteenth St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Hartford: Harrison Harries. 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
Naugatuck: Leary's Drug Store, 217 Church St.
New Haven: Fritz & Hawley, Inc., 816 Chapel
St.
Harvey 8: Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc.. 607-14th St..
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg.. 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
McDaniel Gift Shop, 21 W. Forsyth S>.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
Miami Beach: Cox Studios, Roney Plaza Hotel.
J. R. Willis. 737 Lincoln Road.
Palm Beach: Robison's Camera Shop, 206 Royal
Palm Way.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
ILLINOIS
Chicago: BASS CAMERA CO., INC., 179 W.
Madison St.
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
1645 Orrington Ave.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The. Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26' E. 8th St.
W. W. Kimball Co., Motion Picture Dept.,
31 E. Jackson Blvd.
Norman-Willets Co., 318 Washington St.
Post Office News Co., 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermillion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop. 320 S. 5th St.
INDIANA
Evansville: Smith & Buttertield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort' Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres S: Co.. Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop. 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Carroll: Rexall Store. 120 W. 5th St.
Cedar Rapids: Camera Shop. 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service. 3816-6th Ave.
Iowa City: Rexall & Kodak Store. 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores. Inc.. 608
Pierce St.
Lynn's Photo Finishing. Inc.. 419 Pierce St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co.. 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co.. 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons. 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp-Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: James W. Brine Co., 92 Summer St.
Eastman Kodak Stores, Inc., ^S Bromheld St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc.. 438 Stuart
St., cor. Trinity PL
Pinkham & Smith Co.. 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Brockton: Iris Pharmacy. 230 Park Blvd.
Raymond C. Lake, 218 Main St.
Cambridge: E. M. F. Electrical Supply Co.. 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Homovie Service. 45 Summit
Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co.. 1503 Main St.
C. Rogers & Co., 1245 Main St.
Tewksbury: Mark J. McCann. 23 North St.
Worcester: J. C. Freeman & Co., 376 Main St.
L. B. Wheaton. 368 Main St.
(Continued on -page 180)
MOVIE MAKERS
179
Closeups — What amateurs are doing
JAMES W. MOORE
■ Alan J. Villiers, author of Windjam-
mer in a recent Movie Makers, is
rounding Cape Horn again, armed to
the teeth with cine cameras and film.
This year, as mate on his own vessel, the
four masted bark Parma, Mr. Villiers
hopes to make a final and complete rec-
ord of the vanishing "Cape Stiff" sailers.
■ Suggestions given graphically in the
film, Modern Ski Technique, reported
in this department, are now enlarged in
a book of the same title by John W. Mc-
Crillis, A.C.L., Newport, N. H. Clips
from the film have been used in profuse
and effective illustration of this gener-
ally attractive and helpful volume.
■ Under the aegis of Alfred Stieglitz
and Julien Levy, Portrait Of A Young
Man, 1200 ft., 16mm., has had recent
screenings in New York City at An
American Place and the Levy Galleries.
The film, abstract in treatment, pre-
sents studies of motion as seen in water,
smoke, clouds, leaves and machinery
and is from the camera of Henwar
Rodakiewicz, A.C.L., Santa Fe, N. Mex.
■ Professional crooks are going for
amateur movies in a big and regrettable
way, according to recent letters to
League headquarters. Raymond F.
Body, A.C.L., Los Angeles, Calif., re-
ports the loss of his complete 16mm.
equipment, featuring a model K Cine-
Kodak, serial number 4726, a C-K f/2.7
wide angle lens and complete C-K filters
including a Kodacolor attachment. The
Harvey & Lewis Company, Hartford,
Conn., has lost a model K Kodascope,
serial number R-2756, stolen minus the
cord and carrying case. Movie Makers
will welcome any information from its
readers on these items.
The marvels of Mayan cities
have been recorded on film
by Miss Marvin Breckinridge
Edward Smead
■ Customs charges to one hundred per-
cent of the value will be assessed on all
amateur cine equipment returned into
Argentina by travelers from that coun-
try unless the equipment has been de-
clared in detail with the Argentine au-
thorities on departure, according to
George Corbett, Jr., A.C.L., of Buenos
Aires.
Join the Navy and see the
world — with a movie camera —
is the motto of 1932 sailors
■ The continuity plan of an amateur
comedy now in production called for
wholesale smashing of a set of dishes in
the final scenes. The League member
producer left A.C.L. headquarters alive
with the idea, eager to get into produc-
tion but extremely dubious of his wife's
reaction to this stroke of dramatic
genius. As a safeguard, he planned to
buy a few dozen property plates at the
Five and Ten, but still he didn't
know. . . . The next heard of the matter,
weeks later, was in a letter, "She thinks
the suggestion about breaking up the
plates is a good one but only on the
condition that, instead of buying them
as I planned, I use her old luncheon
set . . . and then buy her a new one."
A tip to movie makers' housewives!
COMPLETE
with BULB
.50
The Outstanding
Value in Lighting
Equipment.
Northeast Products
Company
Tewksbury, Mass.
16mm. TITLES
Send 25c for special sample of our work, "Pho-
tography by ," your name in blank
space.
J. C. HAILE&SONS
Motion Picture Dept.
215 WALNUT ST. CINCINNATI. 0.
► RENTALS 4
► 5, 6 OR 7 REEL FEATURES A
RENTAL FEE $2.50 l
p East of the Mississippi only. -4
. Have you received our new list a
w of films for exchange? \
C Send for it now. a
Manhattan Film Rental Library i
W 5115 18th Ave. Brooklyn, N. Y. 4
If you need any 1930 or 1931
MOVIE MAKERS
for your binders, we have
1930— all but January
1931 — all but January and February
BUY THEM NOW
while they are still available. 35 cents for each
copy for United States and abroad; 45 cents for
Canada. Please send remittance with all orders.
MOVIE MAKERS
105 W. 40th ST. NEW YORK CITY
©.
TITLES
' Complete editing and titling
p.'jayi service. (16 mm. or stand-
ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendale 0011
DETROIT, MICH.
REEL BARGAIN
30 cents each
400-foot aluminum reels, almost new, perfect con-
dition. Bell & Howell, DeVry, Hayden, etc., re-
placed by Kodascope reels. Postpaid in lots 12
or more. 25 cents each in lots 100.
Kodascope Libraries, Inc.
33 West 42nd St., New York
Simplex Film Cleaner
Three methods of cleaning your film are made
possible with this machine. Price $8.00.
. # .
Simplex Fading Glass
Make your own fade-in and fade-out. With car-
rying case and instructions. Price $2.00.
. # .
Pixy Pictures
Complete 16mm. film subjects in 25 foot
lengths; interesting to young and old; for
additional scenes for your own movies or toy
projectors. 75c each or 3 for $2.00. Catalog on
request.
Produced by
ERNEST M. REYNOLDS
165 E. 191st St.
Cleveland, Ohio
180
APRIL 1932
(Continued jrotn 'page 178)
MICHIGAN
Bay City: Bay City Hdw. Co., Sporting Goods
Dept., 1009-15 Saginaw St.
Detroit: CLARK CINE-SERVICE, Rra. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner Sc Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St._
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Lamed St.
J. L. Hudson Co., Dept. 290.
Metropolitan Motion Picture Co., 2310 Cass
Ave.
E. B. Meyrowitz, Inc.. 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Jackson Ave.,
W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Vans Cine Service, 600 Prudden Bldg.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc.. 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Co-operative Photo Supply Co., 381-3
Minnesota St.
Eastman Kodak Stores Co., Kodak Bldg., 91
E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co.. 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co.. Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O.
St.
Omaha: Eastman Kodak Stores. Inc.. 419 S. 16
St.
NEW HAMPSHIRE
Newport: K. E. Waldron, I A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Maplewood: John H. Osmun, 174 Maplewood
Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 SoutU
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
T. C. Reiss, 10 Hill St.
Schaeffer Co.. 103 Halsey St.
Passaic: Rutblatt's Sport Shop, 38 Lexington
Ave.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfield: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Ridgewood: Chapman Sales & Service Co., Inc.,
56 Godwin Ave.
Summit: Eastman Bookshop. 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson. 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
Vineland: Robbins Photo Service, Inc., 615
Landis Ave.
West Englewood: C. M. Vanderbilt, Inc.. 374
Briarcliffo Rd.
West New York: Rembrandt Studio, 462 Ber-
genlino Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadw.,,.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co.. 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw : E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Home Movies, 30 Division Street.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 173 E. 60th St.
City Camera Co., 110 W. 42ncl St.
City Radio, 42 Cortlandt St.
ABE COHEN'S CAMERA EXCHANGE, 120
Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen. 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Film Featurettes, Inc., 130 W. 46th St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Gloeckner & Newby Co., 9 Church St.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand. Times Bldg.
Lugene, Inc., Optician. Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
Luma Camera Service, Inc., 302 W. 34th St.
Marcus Photo Service, 1170 St. Nicholas Ave.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co.. 122 Cedar St.
E. B. Mevrowitz. Inc.. 520 Fifth Ave.
MOGULL BROS., 1944 Boston Rd.
New York Camera Exchange, 109 Fulton St.
Y. Nomi. 174 W. 95th St.
Parker and Battersby. 146 W. 42nd St.
Pickup & Brown, Inc.. 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
G. Tankus. 837 Seventh Ave.
WILLOUGHBYS, 110 W. 32nd St.
Pelham: Kolf & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley, Lindsay & Curr Co., Camera Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Alex. Grants Sons, 119 E. Washington
St.
Francis Hendricks Co.. Inc.. 339 S. Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Yonkers: W. J. Dolega, 242 Nepperhan Ave.
Joseph F. Blatzheim, 4-6 Riverdale Ave.
NORTH CAROLINA
Charlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard.
Canton: Roth & Hug Co., 539 N. Market Ave.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 41 6^ Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co.. 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Public Square.
Home Movies Co.. 1501-7 Superior Ave.
Lyon & Healy, Inc., 1226 Huron Rd. at
Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply. 62 E. Gay St.
Don McAlister, 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea ft Williams. 2028 E. Third St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: F. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store. Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe. Inc.. and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Eugene: Stevenson's, Inc., 764 Willamette St.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisuurg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lancaster: Darmstaetter's, 59 N. Queen St.
Lebanon: Harpel's, 757 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Home Movie Studio, 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott St Co.. 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware, Sporting Goods
Dept., 115 E. Independence St.
Goods Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Newport: Rugen Typewriter & Kodak Shop,
295-7 Thames St.
Pawtucket: Thomas N. Simpson, Broadway and
Exchange* St.
Providence: E. P. Anthony. Inc.. 178 Angell St.
Starkweather & Williams, Inc.. 47 Exchange
PI.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Jackson : Southern Pictures Corp.
Knoxville: Jim Thompson Co., The "Snap
Shop." 415 W. Church Ave.
Memphis: Memphis Photo Supply Co., 122
Llmon Ave.
Nashville: G. C. Dury & Co., 420 Unics St.
TEXAS
Abilene: W. C. Crosby. 249 Pine St.
Dallas: Jamiesou Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co., 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Chas. G. Lord Optical Co., 704
Main.
Houston: Star Elec. & Eng. Co.. Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
Shiplers, 144 S. Main St.
VIRGINIA
Bristol: Kelly &. Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores. Inc., 1415-4th Ave.
Lowman S: Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. 4,
707-11 Sprague Ave.
MOVIE MAKERS
181
Joyner Drug Co., Howard & Riverside Ave.
Wenatchee: Wheeler's Photo & Gift Shop, 33
N. Wenatchee Ave.
Yakima: Yakima Book & Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Charleston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service, 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 Milwaukee
St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosh: Coe Drug Co., 128 Main St.
Waukesha: Warren S. O'Brien Commercial
Studio, 353 Broadway.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (South Africa) Ltd., "Ko-
dak House, "Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe : Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Aus'talasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harringtons, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle
St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Agency, 179 Elizabeth St.
West A ustralia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
AUSTRIA
Vienna: Siegfried Wachtl. VII Neubaugasse 36.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd.. 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Film & Slide Co. of Canada, Ltd., 156 King
St., W.
Lockhart's Camera Exchange, 29 Richmond
St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave., at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd.. 286 Craig St..
W.
Film & Slide Co., of Canada, Ltd., 104 Drum-
mond Bldg.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHILE
Santiago: Casa Heffer, Calle Estado 242.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393 Nan-
king Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
CUBA
Havana: "La Bohemia" Bookstore, Neptune 2B.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam-
eras, Senovazuna, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Cohn, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Birmingham: Kodak, Ltd., 42 Corporation St.
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 22-23 Duke St.
Bristol: H. Salanson & Co., Ltd.. 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
.1. Lizars, 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
Home's Camera Mart, 58 Old Broad St.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: 4,. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd., 119
Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Sands, Hunter & Co., Ltd., 37
Bedford St., Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 New Bond St.,
4 Berkeley St., Piccadilly.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak Ltd., 32 Grainger
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
LeGrimoire, 182 Blvd., Berthier, XVII.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361, W.
Foto Schaap & Co.. Spui 8.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi, 13-17 van Berchenstraat.
Capi, Broerstraat 48.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz, U-4.
INDIA
Ahmebabad: R. Tolat & Co., Bawa's St. Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
M. L. Mistry & Co., 46 Church Gate St., Fort.
Calcutta: Army & Navy Coop. Soc, Ltd., 41
Chowringhee St.
Photographic Stores & Agency Co., 154 Dhur-
amtolla St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti 8: Garbagnati. Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Fukada & Co., 2 Chome Kitakyutaro
Alachi, Higashiku.
Shueisha, 25, Kitahama 4 Chome, Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agenda Postal 25.
Casa Calpini. S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman. Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth : L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine, 103J4 St. Vincent
St.. C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
Paisley: J. Lizars, 27 High St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Bilbao: Ignacio Amann, agent for Bell & Howell.
Colon de Larreategui 9.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol. 4.
Avenida Conde Penalyer 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong. lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak. Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 65-3 High St.
SUMATRA
Medan : V. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Friestrasse 74 (Sodeck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Winterthur: Alb. Hoster, Marktgasse 57.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Staclelhoferplatz.
Zulauf and Co., Bahnofstr, 61.
VENEZUELA
Caracas: Edo. Vogeler & Co., Apartado 470.
Maracaibo: MacGregor & Co., Apartado Postal
No. 197.
$3 a year (Canada, $4.00,
Foreign, $3.50) ; 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
182
APRIL 1932
ANNAPOLIS
Featuring John Mack Brown, Jeanette Loff and Hobart Bostvorth
Glamorous story of life among the Naval Cadets, their schooling, hazing, drilling, sailing,
flying and loving. Taken with the fine Annapolis background, steeped in the traditions
and spirit of that famous school.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
Branch Libraries and Distributors in fifty-five of the leading cities of the United States and Canada
Announcing Two New Stars in Kodascope Libraries
HARRY LANGDON
CHARLEY CHASE
in
in
u
Feet of Mud"
,99
By many critics, Harry Langdon is con-
sidered the equal of Charlie Chaplin in the
finished art of pantomime. Certainly in this
2-reel comedy he is at his best and his
adventures in Chinatown are too funny to
describe. He also figures in a football
game, in an unsuccessful effort to favor-
ably impress the "girl of his dreams."
"Many Scrappy Returns'
No one plays the modern sophisticated
society drama with quite the charm and
finesse of Charley Chase. He delights a dis-
criminating public. With Eugene Palette
and Bull Montana he extricates himself
from one anniversary adventure after an-
other with delicious subterfuges.
Printed by W.N.U., New York
MOVIE MAKERS
J Y>$ A new film, at the old
n r n r price, that widens the scope
of full color movies
EASTMAN SUPER-SENSITIVE
KODACOLOR FILM
records movies in full, natural
colors on dull days or in open
shade, at half speed . . . on slightly
cloudy days or in direct sunlight,
at normal speed.
YOU'VE waited for this oppor-
tunity ... to make Kodacolor
movies under a wider range of con-
ditions ... to record many action
shots in their full, natural colors
when your subjects appear in open
shade or even when the sky is over-
cast. Now you can.
For the Eastman scientists who
made Kodacolor movies possible
have developed a new film... twice
as fast as the original Kodacolor
Film. A film that assures greater
brilliancy . . . sharper definition . . .
richer colors.
Just as Cine-Kodak Super-sensi-
tive Panchromatic Film opened
new fields for black and white
movies, so does this new Super-
sensitive Kodacolor Film unfold
new and inviting opportunities for
the making of full color movies
with an/! i. 9 lens.
Read the Exposure Guide for
Super-sensitive Kodacolor Film
Full color movies under partially cloudy skies, once impossible, are easy now with Koda-
color Super-sensitive Film, a Kodacolor filter and anf.i.g lens.
(below). Note the wide diversity
of light conditions under which
this amazing new film will record
your pictures ... in action, in color
... as true to life as nature itself.
You'll want to try Eastman Super-
sensitive Kodacolor Film yourself,
at once. Your Cine-Kodak dealer
has it. The price is the same as that of
the original Kodacolor Film (now
discontinued) — $9 for the 100-foot
roll; $4.75 for the 50-foot roll.
Eastman Kodak Company, Roch-
ester, New York.
1* roMP-^Y
EXPOSURE GUIDE for EASTMAN
Super-sensitive Kodacolor
Safety Film
Light Classification
Exposure
Camera
Speed
Dull or in Open Shade
Slightly Cloudy
Direct Sunlight'
Intensely Bright
No N. D. Filter
No N.-D. Filter
N.D. 1
N.D. a
Half
Normal
Normal
Normal
Early or late in day, increase exposure by changing
N.D. Filter or decreasing camera speed.
Dull — Sky completely overcast, but good
light. Do not confuse with Very Dull.
Open Shade — Subject lighted by large area
of sky.
Slightly Cloudy — Sun just obscured, no dis-
tinct shadows cast. Also for clear days
when only part of subject is in sunlight.
Direct Sunlight — Full sunlight, distinct
shadows cast.
Intensely Bright — Unusually brilliant sun-
light, without large shaded areas.
EASTMAN Super-sensitive KODACOLOR FILM
iMASTER
of all
PERSONAL MOVIE
CAMERAS
THE FILMO 70-D — In beautiful Sesamee-locked May fair
Case -priced at $24; and up. Other Filmos for as low as $92.
' I 'HIS year is the 25th anniversary of the Bell
-*■ & Howell Company. Among the many out-
standing accomplishments of those years in
professional and personal movie equipment de-
velopment , there is none of which we are prouder
than the Filmo 70-D Personal Movie Camera.
For this camera has made possible to amateurs
virtually everything in movie-making that pro-
fessionals do. And its fineness and range are
combined with an amazing simplicity ... a
simplicity even beyond that of a still camera.
Seven accurate speeds from s-l-o-w to fast . . .
8, 12, 16, 24, 32, 48, and 64 frames a second.
Three lens turret head to permit instantaneous
change from one lens to another. Variable
viewfinder to adjust the finder area to field
areas of lenses of six different focal lengths.
Critical focusing attachment if desired (in
which case the designation is 70-D A). A gen-
eral construction of watch-likeprecision wedded
to a stamina which makes it possible to say:
No Filmo has ever worn out.
Why shouldn't we be proud of the Filmo 70-D?
Why shouldn't we consider it a worthy crown
of a quarter of a century of ceaseless develop-
ment? Why shouldn't it win the place that it
has won in the estimation of experienced
<^?
because
' ^ years
went into building it
25
movie-makers
Movie Cameras.
the Master of All Personal
If you own other movie cameras ... or if
you've never owned one . . . you'll want to
know about this finest. Ask your dealer to
demonstrate it. Or write for the book, "What
You See, You Get," to Bell & Howell Co.,
1843 Larchmont Avenue, Chicago; New York,
Hollywood, London (B & H Co . , Ltd . ) Est . 1907 .
NEW FILMO PROJECTOR
FOR ONLY $150
Here's the answer to low first cost plus
fine results and maximum durability
in a movie projector . . . the new
Filmo Model M. Single control — a
child can operate it. Only simplicity,
retention of basic Filmo $j Projector
design, and quantity production have
made possible the low price. Mechan-
ism and optical system essentially the
same as those in other Filmo models
of higher price. )oo-watt lamp. Priced
at only $150. Other Filmo Projectors
$198 and up.
FILMO
PERSONAL MOVIE CAMERAS & PROJECTORS
Made by Bell & Howell, the world's leading manufacturers of
finest quality professional and personal motion picture equipment.
PROFESSIONAL RESULTS WITH AMATEUR EASE
MOVI
[T£i r^
Magazine off tlie Amateur Cinema League, Inc
iV
O
o
o
o
o
Q
I
v
O
TVIA.Y", 1932
MAY 1932
W/hat c/o these BIG words
? Panchromatic '% f f Supersensitive "
really mean?
^S AGFA uses them, "Panchromatic" and
"Supersensitive" are words of definite meaning
that convey much to every maker of fine movies:
Panchromatic is another way of saying "sensitive
to all colors." Agfa Panchromatic film registers
all the colors which, together, make up daylight
or artificial white light. With panchromatic mate-
rial you get the full benefit of all the light which
illuminates your subject, or is reflected from it,
including red, to which orthochromatic films are
relatively insensitive.
Supersensitive means that Agfa is particularly
fast, — twice as sensitive to daylight, three or more
times as sensitive to artificial light.
The scope of fine movie making was immeas-
ureably widened with the introduction of Super-
sensitive Panchromatic Cine Film. Agfa makes
possible a truly faithful reproduction of tone
value and clearer detail. Also it registers the
picture under difficult light conditions — indoors
and out— —conditions too difficult for earlier types
of film.
Week by week movie-makers report new con-
quests with Agfa, — pictures that have new interest
in the taking as well as the showing, because they
present the new and unusual in home movies.
Adventure with your camera. Load with Agfa
and get the new brilliance that only Supersensi-
tive Panchromatic Film can give you.
Price, including free processing, and
return transportation, per 100-foot
roll, $7.50; per 50-foot roll, $4.00
AGFA CINE FILM
16 eii en. Supersensitive Panchromatic
AGFA ANSCO
O F
BINGHAMTON,
BRANCHES : CHICAGO DETROIT KANSAS CITY LOS ANGELES SAN FRANCISCO BOSTON TORONTO, CANADA
MOVIE MAKERS
187
By Actual Count
Of a recent questionnaire sent out by MOVIE MAKERS MAGAZINE
Two features most desired
by amateur movie makers ARE TO BE FOUND ONLY in the
ENSIGN AUTO KINECAM!
(l)
Reverse attachment
for rewinding films in
camera.
(2)
Double spring motor
running more film in
one winding.
The ENSIGN AUTO KINECAM is the ONLY AiSO
camera which has both these features.
The mechanism is so constructed that the
crank may be turned backward and the film
rewound for lap dissolves or other trick work.
Necessary fittings cost $20 above the price
of the outfit.
The Graphite packed double spring, when fully and the price $
wound, will run at least 35FEETOF FILM and,
in some cases, 40 FEET!
• Three speed shutter — 8, 16 and 64 pictures per
second.
• //2.6 Cinar anastigmat lens in focusing mount.
• Pressure control on film gate to assure correct
contact at light opening at all speeds.
• Hand crank in addition to spring drive.
• Built in exposure guide on camera side.
• Solid construction throughout.
99
including
genuine
leather, hand-
sewn case.
WILLOUGHBYS
MOVIE CAMERA HEADQUARTERS
110 WEST 32d STREET, NEW YORK
188
^\
Here's the answer to Your Exposure
Problems! ... the ELECTROPHOT
photoelectric Exposure Meter
| Now only $30
Forget past failures! Decide now that
you will start off your next roll of film
with the assurance that every shot will
be a successful one.
ELECTROPHOT, the revolutionary
new photoelectric exposure meter,
makes your success certain! It provides
you with science's latest development
in light measuring devices — in a simply
operated, compact form.
LENS SETTING DIRECT FROM DIAL
All you have to do is sight the ELEC-
TROPHOT at the scene, through the
Reflex viewfinder, and press a button.
in the United States,
complete with leather case
Immediately the scientifically correct
lens setting is seen on the dial, which is
graduated from f/\ to //32, including
the full range of your camera lens.
What could be easier? Think of the
time you save, of those quick shots you
now can make successfully, of the film
you save by eliminating mistakes in
judging and estimating!
NO MORE GUESSWORK!
ELECTROPHOT removes all the
time wasting, confusing technicalities.
It asks no careful judgment or approxi-
mations from you. You do not have to
NOW! A model for STILL camera work
A new ELECTROPHOT has been designed and proved for STILL
camera work. Its dial is graduated for quick, easy use. Its operation
is just as simple and error proof as that of the movie model. You sight
it, press the button and the dial instantly registers light intensity. A
quick glance at the handy chart and you have the correct lens setting
for perfect stills. No calculating, no estimating, no "squint tube" guess-
ing. You do not depend upon the variable reaction of the human eye.
ELECTROPHOT'S "electric brain" now becomes your exposure
authority for still shots also. Equally useful outdoors or indoors. In-
valuable for color filter and other special work. Complete with genuine
leather carrying case, only #30.00 in the United States. Order direct
or through your dealer. See the descriptive folder.
squint through a tube or adjust any
sliding scales. Simply sight ELEC-
TROPHOT, press the button and read
your correct lens setting.
ELECTROPHOT is ideal for shots
under difficult conditions — for indicat-
ing at once whether color or other spe-
cialized work is possible — for interior
scenes — and for using the new super-
speed film. Above all . . . it is a FILM
SAVER. Every shot is a successful one!
SAVES THE ROLL IT REPLACES
In its new size and shape, the ELEC-
TROPHOT is easier to handle and to
operate. Its new reflex viewfinder gives
complete sighting accuracy. It fits in
your camera case — replacing a roll of
film — and saving many rolls, according
to users! It weighs about sixteen ounces
and has its own genuine leather carry-
ing case.
Amateur movie makers in every civil-
ized country have proved the remark-
able results obtained with the ELEC-
TROPHOT photoelectric exposure
meter. It has been developed on proved
principles employed in talking motion
picture work, color sorting machines,
photometry, etc.
NEW LOW PRICE
ELECTROPHOT will pay for itself in
film saved, in better pictures, in the
satisfaction you gain from knowing
that exposure failures are a thing of
the past. At its new low price of
$30.00, complete, and including many
improvements, it is an essential instru-
ment for every amateur who wants
good results.
You can order the ELECTROPHOT
direct, or through your dealer, who
can give you a completely descriptive
folder and show you this unusual fully
automatic exposure meter.
ELECTROPHOT is a product of
J. Thos. Rhamstine*
Manufacturer of Precision Electrical
Apparatus for 12 Years
501 East Woodbridge, Detroit, Mich.
(£)C1B 152T.15
189
1PR 28 193?
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII May, 1932 Number 5
'■•
H. A. Neumann, Nesmith & Associates
Cover design A lexander de Canedo
Try this, editorial 195
A beacon light, photograph 196
George Eastman and amateur movies Roy W . Winton 197
Dr. Kinema pays a call Cyrano 198
The time element and cine planning Edward J. Balthazar 199
Tricking it up Epes W . Sargent 200
Seasoning for seasonal sports Russell T. Ervin, Jr. 201
The clinic Russell C. Holslag 202
"Super" and niters C.W. Gibbs 203
On the necessity of "letting go" Paul D. Hugon 204
Home talkies — film versus disk George J. Saliba 205
Amateur clubs Arthur L. Gale 206
News of the industry 207
Your camera is a bottle, photograph Leo J. Heffernan 208
Educational films Louis Miller Bailey 209
Taught by the tropics The Reverend Peter L. Bell, S.D.W. 212
Featured releases for home and school 226
Free films 227
Around the world with Movie Makers 228-230-232
Came dawn to Mrs. Pepys Nella R. Galvin 229
Closeups lames W . Moore 231
Editor
JOHN BEARDSLEE CARRIGAN
MOVIE MAKERS is published monthly in New York,
N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign
$3.50) ; to members of the Amateur Cinema League, Inc., $2.00 a year,
postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August
3, 1927, at the Post Office at New York, N. Y., under the Act of
March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and
Publication office: 105 West 40th Street, New York, N. Y.
Telephone PEnnsylvania 6-6836. Advertising rates on application.
Forms close on 10th of preceding month.
ARTHUR L. GALE Continuity and Club Editor
RUSSELL C. HOLSLAG Technical Editor
LOUIS M. BAILEY Editorial Assistant
ALEXANDER de CANEDO Art Editor
ARTHUR L. GALE Advertising Manager
190
MAY 1932
a
. . . that which is supremely fine . . .
v
Th
Filmo jo-D, here pictured, is the master of all personal movie cameras. Seven film speeds.
Three lens turret head. Variable area vieivfinder. In beautiful Sesamee-locked Nlayfair
case, $245 and up. Other Filmo Cameras, as low as $92. Filmo Projectors, $ijo and up.
9 • •
Bell & Howell's quarter century of experience in making the professional cameras preferred by
leading film producers enables this company to design and build Filmo Personal Movie Cameras
and Projectors that assure you
PROFESSIONAL RESULTS WITH AMATEUR EASE
Bell & Howell Co., 1843 Larchmont Ave., Chicago, 111.
Gentlemen: Please tell me about the Filmo Cameras D, Filmo Projectors □•
Name
Street - -
City - - State
.he pride of Filmo
ownership is not an emptv
pride. The infinitely fine meas-
urements and jewel-like pre-
cision of Filmo's moving parts
aren't merely to admire. Thev
perform a function. They guar-
antee good movies. They make
operation simple.
It is this fitness, this supremely
successful adaptation to a pur-
pose, which gives Filmo its
fame. Not mere fineness, not
mere function, but the results of
the two — good pictures. . .these
measure the value of Filmo.
And when we say that Filmo
gives the joy that comes from
owning that which is su-
premely fine, this means simpl v
the joy that comes from own-
ing that which does splendidly
the thing it is supposed to do.
Ask any Filmo; dealer to show
you the Filmo Personal Movie
Camera and Projector. The
most casual examination will
convince you that Filmo is the
equipment to have. Or write
to us today for literature. Bell
& Howell Co., 1843 Larch-
mont Ave., Chicago; New
York, Hollywood, London (B
& H. Co., Ltd.) Est. 1907.
What you see, you get — with Filmo
B E L L &
Howell
FILMO
MOVIE MAKERS
191
Take guesswork out of Exposure
Use the B&H Photometer for assurance
of PERFECT EXPOSURES
The B&H Photometer gives
positive assurance of correctly
exposed film. Under any condi-
tion of natural or artificial light,
it solves every exposure prob-
lem accurately, instantaneously.
And it is as simple to use as a
flashlight. You sight through
the eye-piece, seeing your sub-
ject while you take the reading
on exactly the important por-
tion. Model A, for Filmo Cam-
eras, $17-50 ($20 with case).
Model B, calibrated for still
photography, at the same price.
f f f
Right — Scale of Photometer B, for still
photography
REG
32
16
<
■x
2 t
too
+-A
No jumpiness when a B&H . . .
Tripod holds your Filmo steady
>'(. ;
Blur and jumpiness are eliminated when
your Filmo is mounted on a B & H All-
Metal Tripod. For panoramas or for tilting
the B&H Tripod makes the camera move-
ment slow, steady, and smooth. Pam and
tilt bearings are large and free-moving, and
operate independently or together. Tubular
steel legs have internal locks. Leg tips have
rubber caps for use indoors or on hard sur-
faces. Safety chain prevents accidental up-
setting. Tripod alone, $36. Zipper type
leather case, $12.50.
B&H Lens Modifier
The B&H Focusing
Alignment Gauge
This tripod accessory alternately
brings the Filmo 70-DA viewfinder
and critical focuser exactly into the
lens photographic position. Of par-
ticular value to all who do critical
close-up work. Precision of si ide and
track insures accurate alignment.
For use on the B&H All-Metal Tri-
pod or any other tripod with stand-
ard thread. Price, $21.
B&H Filmo Duplicator
B&H Prismatic Eye
A distorting
lens that pulls
the whole
world out of shape while you
film it; great for grotesque
dream or nightmare effects.
Lens Modifier (fits regular 1"
F 3.5 Filmo 70 Camera
lens), $13.50.
A fun-maker.
Causes the
image to be
doubled on the film. A per-
son filmed with Duplicator
has a "twin" mimicking
every move. Filmo Duplica-
tor (fits standard F 35 Filmo
70 and 75 lens), $4.50.
"Shoot around
acorner" with
the Prismatic
Eye and take
movies of per-
sons without theirsuspecting
you. Enables you to take
movies at right angles to
vour line of sight. Prismatic
Eye, $5.00.
BELL & HOWELL
FILMO
Bell & Howell Co., 1843 Larchmont Ave., Chicago;
New York, Hollywood, London (B&H Co., Ltd.) Est. 1907
PERSONAL MOVIE CAMERAS .PROJECTORS .ACCESSORIES
192
MAY 1932
QL<5KfAT€5T
VALUESI
A H 1 5 JOWvfam/ew,
movi-e-makjng
IMPROVED mODELS
AmAiinG-vMr prices.
1 \ ever before has it been possible to purchase a truly fine movie
camera .... a camera of genuine Victor quality and precision .... at
such attractive prices as those of the new Victors.
The New Victor J will appeal to you as being the most beautiful, the
most complete, the finest of all 16 m/m cameras! The Model 5 is the
original visual focusing, turret front 16 m/m camera. Now it
has many more new features to lift it even farther beyond competition
.... a new graduated dist-a-sight; an audible-visible film meter;
ATTACHED WINDING CRANK: FILM LOOP GUARD; COLLAPS-O'STRAP HAN-
DLE; and rich, gold flecked brown lava finish with satin black and
chrome plate trim .... at a great reduction in price!
The exquisite beauty and amazing performance of the New T will thrill
you. Its new low price will delight you. Don't envy the other fellow . . .
Own a Victor yourself. Ask today to see these new Victor Values.
'Lens-
able
o/ all makes, speeds ami focal lengths are interchange
I Victors. May be equipped /or KODACOLOIl also
Jitle Us l/ouCfc
VlCTOPv. §g^%
POCKET II I
TITL€Pv 1^^
Victor Animatograph Corp.
DAVENPORT, IOWA, U. S. A
Distributors:
National Theatre Supply Co.
BRANCHES IN ALL PRINCIPAL CITIES
mm
MOVIE MAKERS
19i
1 IB (Q Mb Jfc*
M
■ j
A NEW THRILL
FOR MOVIE MAKERS!
Shoot scenes indoors as easily as outdoors
. . . and almost as inexpensively . . .
with this amazing new lamp!
1 HE NEW Mazda Photoflood
lamp developed by General Electric is the greatest light source
ever offered to amateur movie makers !
Brilliant as a 750-watt lamp, it offers you studio" lighting from
ordinary home lighting sockets, without blowing fuses. It enables
you to make sparkling, clean-cut movies right in your own home, free
from expensive, cumbersome apparatus. And this amazing new lamp
sells for only 35 cents !
During the 2 hour life of the MAZDA Photoflood lamp, you can
film hundreds of feet of precious home-life scenes. You can
capture baby's swim in the bath-tub ocean, the children tumbling
about in indoor play, that impromptu dance when the neigh-
bors dropped in, and many other sequences you will
always treasure. All you need is super-sensitive film in your
camera, and one or more MAZDA Photoflood lamp*.
You will want to try this important new development
in home movie lighting at once. Get some MAZDA
Photoflood lamps at the store where you buy film and go
adventuring at home. You'll never tire of these movies !
When you buy Photoflood lamps, always look for the mark
MAZDA, the G. E. monogram and the word "Photo-
flood" on the end of the glass bulb. That is your guarantee
of quality. General Electric Co., Nela Park, Cleveland, O.
Write for a free folder about the
new MAZDA Photoflood lamp.
Hear the " G-E CIRCLE" . . . the woman's club-of-the-air . . . over
National Broadcasting Company coast-to-coast network ofjd stations,
at tivel've, noon, E.S.T., every lueek-day but Saturday . . . Also
every Sunday, at J:Jo P. M.,E. S.T., -with the world's finest voices
singing the world's favorite songs.
MAZDA PHOTOFLOOD LAMPS
a product of
GENERAL ffil ELECTRIC
194
Take Movies like an expert
THE VERY FIRST TIME
with the NEW
STEWART
WARNER
MOVIE CAMERA
Designed by Holly-
wood professional
cameramen . . . Built
by Stewart-Warner
. . . Personally used
and endorsed by
leading movie stars
A sensational high qual-
ity Movie Camera — so
simplified and so priced
that it makes movie-
making available to all
Says V. E. MILLER
Chief Cameraman of
Paramount-Fublix :
"Your only trouble will be
in meeting" the demand."
Take Talking Pictures
The Stewart -Warner Movie
Camera has a Talking- Pic-
ture speed.
Compact, furnished complete with leather-
bound, waterproof carrying *
case of sporty new design — *
De Luxe HOLLYWOOD MODEL
50
It's easy to star yourself, family or
friends in the movies, as well as
make an ever-living record of your
vacations, travels and sports with
this amazing camera — which offers
quality — simplicity and sturdy de-
pendability for only $50.«
Has a combination of astounding
features not found in any other
camera at any price:
Four speeds: including S-l-o-w
motion, regular, low and talking
picture speed; audible film counter;
uses any standard 16-mm. film;
Your Golf Swing in
Slow Motion
Taken with your Stewart-
Warner will help improve
your game.
developed free;
the lightest spring-
driven 100-foot
film capacity movie
camera on the market — 2 lbs. 10 oz.
Stewart-Warner's 25 years' experi-
ence in building gear-driven prod-
ucts famous for long wear and ac-
curacy insures trouble-free operation.
See your Stewart-Warner dealer, or
send for illustrated folder on Stewart-
Warner Movie Equipment Line,
which brings movie taking within
the reach of millions.
New Stewart-Warner
Projector
A fit companion for
the camera. Amazing
value at the price.
Use 500-watt lamp —
most powerful avail-
able for 16-mm. pro-
jector.
New Stewart-Warner
Screen
Latest roll-up, stand-
ing type — perma-
nently attached to
case which acts as a
base to keep it in an
upright position.
Aluminum surface.
Movie Equipment Division, Stewart- Warner Corporation, 1826 Diversey Parkway, Chicago, III.
Gentlemen: Please send me illustrated folder, telling me about the fascinating pictures I can
take with the Stewart-Warner Camera — and how easy it is to own and operate it.
Name
Address
City. State
D DEALERS! Check here for details of our complete Re-Sale Plan.
OVER 30,000,000 SATISFIED OWNERS OF STEWART-WARNER PRODUCTS
195
T
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
HE habit that so many good words have of
narrowing down to limited concepts of their
real meaning is the reason why many ama-
teur filmers shy at the word experiment. In the
school days of many of us whose childish teaching
came from small communities, to experiment was
to engage in a more or less mysterious operation in
chemistry or physics, an operation that called for
special equipment that was often a perplexing as-
sembly of strangely shaped and peculiarly acting
^^^^__^^^^_^^_ apparatus. We approached an experiment with cau-
tion and mental tension, because we knew, from ex-
■^ SB^BM perience or observation, that sometimes one blew up.
^^^^^^^^^^^^^^^ When an amateur filmer is urged to experi-
ment, nine times out of ten he will answer that
he lacks the equipment or the time to get the hang
of using it. He still thinks of experimenting as collecting, mastering and then,
perhaps, utilizing a generous quantity of gadgets. He is under the domination
of the contracted concept of the word. If, on the other hand, you urge him
to try something new, he believes that you either want him to work out a
complete photoplay or to go in for some special kind of advanced technical
cinematography. Between these two phrases, a perfectly simple, workable and
profitable idea is smothered.
All that is needed for an amateur filming experiment is a camera and film.
With more equipment, experiments can become more complex, but, without
it, they are definitely, happily and satisfactorily possible. Indeed, no experi-
ment can be really of more value to the experimenter and to other amateurs
than one which is made with deliberately limited equipment, because an extra
hazard is brought into the game and the fun is increased.
The fundamentals of the experiment are few — motion, light and shade and
composition, so far as the photographic factors are concerned, and choice of
subject matter and continuity for the logical content. No laboratory is needed,
no collection of equipment either assembled or specially designed. A camera,
some film and an alert and original mind are the only requisites.
The problem of the experiment is equally simple in its broad statement.
Required to produce an amount of film footage in which you shall have some-
thing to say that has originality and pungency and on any subject that you
may choose, in which you shall say what you mean and say it clearly, simply,
logically and intelligently and in which you shall employ cinematography as
a means to an end and as a tool to serve your brain.
Here is an experiment that cannot be shunted off on the
plea that equipment is lacking, that cannot provide the ex-
cuse that it is for "advanced amateurs." Here is an experi-
ment that challenges the owner of the least expensive and
the most unaccessoried camera that has been offered. Every
photographic requirement can be met with the simplest
mechanism that will produce a motion picture. Mental en-
ergy, inventiveness and the capacity of seeing old things in
a new way must come from the experimenter and he cannot
borrow them or buy them.
Movie Makers wants you to make these experiments
and to send them in for us to see, as we determine upon
the ten best films for 1932. Can you make bricks, not with-
out straw, but without a factory full of machinery? If so,
they will probably adorn the capital of this year's film edifice.
Try this
w-
>V/
*X9fi£
w@&
HJEm
:,.'■"
i|
■Hf
''■-.'■ ■
inm
mm
-.
.■■■.•■"-■'':■
MOVIE
197
MAKERS
George Eastman
and amateur movies
ROY W. WINTON
A discussion of his
contribution to the
advance of 16mm.
A beacon light
Photograph by H. Armstrong Boberta
THE whole world has recognized the fact
that in the death of George Eastman there
has gone from the current scene a figure that
was profoundly effective, influential and impor-
tant in the development of a number of interna-
tional interests. The work of this shy man who
became a great leader in photography, industrial
management, musical appreciation, public health,
education, natural history and new methods of time reckoning has been told earlier
by Carl W. Ackerman, A. C L., and others and, most recently, in the public press.
Of particular interest to those of us who practice amateur cinematography is the
less known — perhaps unknown — story of Mr. Eastman's personal activity in the cre-
ation and development of home movies. Because the public presentation of personal
filming coincided, roughly, in time with the retirement of George Eastman from
detailed direction of the Eastman Kodak Company, it is easy to conclude that this
pioneer in popular photography had comparatively nothing to do with amateur motion
pictures. The facts are to the contrary.
George Eastman had two fundamental attributes that controlled all of his relation-
ships with his company. As an associate of his puts it. "it is interesting to bear
in mind that, during the years when practical amateur photography was evolving, the
Eastman organization was small, composed of jacks of all trades, among whom Mr.
Eastman was jack of spades for comprehension and ability. He worked closely with
his few associates, with hands and mind — always that active, amazingly lucid mind —
in developing the Kodak and the film to use with it." Although circumstances changed
with the years, Mr. Eastman never lost that intimacy of contact with company prob-
lems and his hand was always on one part of his great industrial machine or another,
with a lessening pressure, as time went forward, but never completely removed. He
was a type that, a few years ago, would have been reproached but that, in the light of
the last two or more years, has emerged as a distinct asset in public affairs — he was a
man with the detailed "small town" mind so far as his willingness and capacity to
work was concerned and, at the same time, a man who could think broadly and in-
ternationally when need arose. This accounts for the fact that he deliberately had "a
finger in every pie" because he wanted to be sure that the pie was the right kind.
The other characteristic of Mr. Eastman that is basic to any consideration of the
part he played in amateur movies was his capacity, to which his world wide company
bears witness, of building up contemporaneously with necessity an organization to
carry out the projects upon which he had decided and to develop new projects for
consideration and decision. Again, his friend says it best. "The remarkable genius
of Mr. Eastman was that he could grow from his ability as an inventor into a great
organizer to perpetuate similar talents of many other men, his successors. Few figures
in history have combined preeminence in these two abilities."
What, then, did this man with a passion for personal intervention and a demon-
strated capacity for synthetic organization do for amateur movies? Precisely what
these two fundamental attributes would demand, which was to consider amateur
movies when they were suggested by his associates, to decide that his company would
develop them and then keep a close personal watch upon their progress with occasional
definite interventions.
During the War decade, several attempts at amateur motion pictures had either
failed or had not come to fruition in general public acceptance in the United States
and elsewhere. The photographic industry, as a whole, was skeptical about home
movies and hesitated to undertake them. Efforts had centered on a negative and
positive process (cost being a barrier to extensive use) with the film, in most cases,
17.5 mm. wide, half the standard theatrical width. The Kodak Research Labora-
tories, an accomplishment of Mr. Eastman's organization genius, studied the possi-
bility of offering a practicable method of home movies to the world. They rejected
the negative and positive process and came to the conclusion that the whole thing
depended upon the perfection of the reversal process, now so well known. This process
was not new but, as it was then, it was lacking in the necessary latitude. No means
existed of automatically compensating for amateur deviations from just the correct
exposure. Since amateurs could not be expected to tolerate inferior results and since
only expert amateurs could be expected to give the correct exposure all the time, it
was obvious that the reversal process had to be modified and bettered. The Research
Laboratories expressed their belief that this could be done. [Continued on page 214]
(The writer is particularly indebted to officials of the Eastman Kodak Company,
especially to L. B. Jones, vice president, for the essential material in this discussion. )
E. B. Luce, courtesy Davis Press
"And here's another
who says he wants to
make shadow films"
THE technical consultant of the Amateur Cinema League sat at his desk,
gazing out of the window. Yes, gazing, star gazing, perhaps, although the
only constellations visible in the city's evening sky were those of this
earth — galaxies of brilliant electric lights, clusters of lighted windows denoting
late stayers in some tall buildings. For these are the only stars by which New
Yorkers may chart their course. As the dusk falls over the city, the great build-
ings, huge and stolid in the day, suddenly begin to gleam, as it were, with an
inner radiance, a thousand points of light. These are the city's stars and moons,
this its milky way.
The technical consultant sighed; his had been a busy day and he was not
yet finished. His own office that night seemed one of the city's smallest stars —
just a point of light from the street, beheld as an atom, a molecule of brightness.
He recalled the busy day with its many visitors from far places. A line of
W. S. Gilbert stirred in his memory: "Patagonia, China, Norway . . . Till at
length they sink exhausted on the movie League its doorway!" he concluded,
in a lame paraphrase. Well, perhaps not visitors from those identical places
but letters answered from still farther places — India, Penang, Australia, Japan.
He felt, thereat, rather cheered and, at once, the glow from his office window
through the night seemed to take on somewhat the aspect of a beacon light.
After calculating absent mindedly the exposure that would be required to
shoot the night scene on supersensitive film, he turned to his typewriter and to
an unfinished News of the industry description of a new gadget he had inspected
that day. As he turned, he suddenly became aware that the office contained
another occupant. He leaped to his feet in consternation and in some embar-
rassment at his daydreaming for there, calmly seated in the office chair, was
no one other than Doctor Kinema !
It was plain that the good Doctor was not altogether displeased at the sensa-
tion he had created. He'd been an infrequent visitor to the office of late and
had been wondering just how far he had been missed. So that, when the
technical consultant had sufficiently recovered from his surprise to speak his
pleasure at the unexpected visit, the Doctor's eyes twinkled merrily and,
through his trim, graying Van Dyke you could see the suspicion of a grin.
"Well, well!" said he, "Glad to see me, eh? I suppose you thought the
Doctor had forgotten you all over here. But I don't forget so easily and when
I had this opportunity of flying over to the city, I took advantage of it and
here I am!"
"Really, Doctor, you flew all the way from your home in . . ."
"Exactly! And don't adopt that surprised tone about my flying."
The technical consultant saw that his natural surprise had taken rather a
left hand twist in the old gentleman's mind. He reflected on the Doctor's thor-
oughgoing "uptodateness" in movies and everything else, and was slightly
abashed.
"Well, Doctor," said he, reaching for the top letter of a pile on the desk,
"that's just the subject taken up in this letter. Look here. It's from Europe;
the chaps over there do a lot of flying and they know their stuff, too, but this
member has acquired a filter which he wants to use from a plane, and doesn't
know its factor."
"And he expects you to tell him that at long distance, of course," said the
Doctor, mollified, as he adjusted his glasses and reached for the letter.
"Not exactly," replied "Tech." "But speaking of that, Doctor, you'd be
astonished at the number of my correspondents who, apparently, credit me with
occult powers. It's all very flattering, of course, but a mere description of a
filter's shape and mount, especially a foreign one, is not enough to determine
its factor."
"What are you going to do about it, then?" asked the Doctor. "Seems to me
I've seen something in the Clinic about determining the factor of an unknown
filter. Are you going to refer him to that?"
"I would if I hadn't had a bit of luck in
this particular matter. The filter in ques-
tion, as you see, is described as having a
ring mount bearing a single initial letter.
This didn't give me the factor but I rang
up a well known firm here in New York
City which has a [Continued on page 216]
What transpired on
an unheralded visit
to the A. C. L office
BY CYRANO
Dr. Kinema pays a call
198
199
The time element and cine planning
EDWARD J. BALTHAZAR
It is easy to avoid
movies which are,
at best, really stills
A WELL KNOWN trouble of many
cine amateurs is the persistence of
a "still consciousness." The habit
of viewing the representations of things as
still pictures is so ingrained in the race
that it may explain the trouble. Many of
the amateur movie maker's inspirations
come from still pictures — photographs or
paintings. No wonder, therefore, that, with the desire to take his little son of
four on the knee of grandmother, he is at first satisfied with shooting five or ten
feet of the pose and is contented with a result which is rightly the aim of a still
photographer. A still picture is relatively instantaneous. It has no reference to
time. Its effect is to blot out time from the motion of things, so that a representa-
tion of a racing car going better than a hundred miles an hour does not appear
to move. A motion picture camera cannot do otherwise than represent action
and action necessarily involves terms of time. Let some Einstein figure out
timeless motion, if he can. Should the amateur apply the time element in
planning a film of his infant son on his grandmother's knee, he will arrive at
results which will open to him as by magic the true technique of the motion
picture camera. In the first place, it can be suggested safely that he keep his
first inspiration, whatever it may be, as the climax of the film he is planning.
And, since time is divided into past, present and future action, he may set aside
the climax as the present action towards which the past action is to evolve
and from which his future action is to proceed to a logical and natural finale.
It can now be seen that past action is merely the introduction to the climax,
that is, in the present instance, to the scene of the child in arms. The amateur
may use any introduction he will. Should he desire to use more rather than less
film and should the child's grandparent not reside in the same town, her arrival
may be taken first. He may choose the garden as the setting for the whole film,
starting his action with grandmother's entry into the garden. Little Bobby is
playing at his sand pile. He arises as grandmother seats herself on the garden
seat, goes to her and she may be filmed raising him to her knee. Any introduc-
tion will do, provided that it leads inexorably to the climax.
Having recourse again to the law of motion as evolving from elements of
time, he will now seek to prolong the static idea of his first inspiration with
action. In other words, instead of being merely contented with a pose of the
child on the grandmother's knee, he will seek some action that can transpire
thereon to avoid the still quality of the scene which first inspired him. Bobby
may be either induced to go to sleep or to clamber down and return to his sand
pile. But the best of a thousand bets is that he will ask for a story. Here is an
opportunity to prolong the action of the climax by including the narration of a
fairy tale.
A commonplace method would be to use titles to show what grandmother is
saying but that would take a great deal of title footage. Why not insert scenes
of the story itself, intersplicing them with shots of grandmother and child
during the story telling. Although some amateurs may balk at the idea, it is
suggested that a short library film be purchased, cut up and spliced between
scenes of grandmother telling the story. It would be wise to purchase the library
film in advance and to study its possibilities. In all probability it would increase
the effectiveness of the idea to remove the titles and substitute quotations from
grandmother's tale. Grandmother would tell the story during the filming and
you can wager that Bobby would furnish the reactions. A possible treatment of
the film would run something like this: A shot of Bobby and grandmother and
then the title, "And the wicked wolf waited in Little Red Riding Hood's path — ".
Then another shot as grandmother finishes speaking, followed by an appropriate
excerpt from the library film.
However, should the child have older brothers or playmates, the amateur
himself could film the tale grandmother is telling, using the other children as
actors. It is not necessary to stage an elaborate production. A very simple story
will do. The other children may be disguised by the simple expedient of dressing
them in grownup clothes and by adding mustaches and side whiskers by means
of burnt cork. Place a bridge table in the garden with a cake in the center
and set Lady Alice, Lady Effie and Lord Harry around it as if preparing for a
magnificent repast. Tom, the pirate, lurks in the [Continued on page 218]
Bobby saying his
goodnight prayers
might end the film
D. Warren Boyer
Tricking it up
EPES W. SARGENT
Simplest of devices
Shooting into a
reflector mirror
gave this effect
arvey White
wi
put
tiresome
spice into
sequences
THE probabilities are that everyone
has attended at least one dinner where
the postprandial orator told a story
about those two most famous Irishmen,
Pat and Mike. Maybe it was a flat story
but the interjection served the definite pur-
pose of retrieving attention sent wandering
by the still more prosy speech. This, how-
ever, is not a dissertation on after dinner speaking. It is merely a suggestion
that you put a little Pat and Mike into your straight filming and to the same
end. Like the stories, a little will go a long way, but it will help out of all
proportion to its footage. Few who own cameras can escape the occasional
demand for some wholly uninteresting photography. Uncle John may want to
see how he looks coming down the street or climbing into his new car. It may
be politic to humor him. And, since he has no well developed sex appeal, try
a little trick stuff on him. He comes toward the camera, hesitates and his over-
coat is on his arm. Another few feet and his hat is in his hand. Very simple
stop camera work and, yet, you not only have tickled Uncle John half to death
but others will not squirm in their seats when they are led by the proud subject
to the optical slaughter.
Simple trick work will put spice into the deadest landscape or pep up the
comedy that is a little unsteady on its story legs. You probably are familiar
with the effects gained by stopping the camera, reverse motion, obtained by
merely turning the camera upside down, and cutting and patching. You can
also avail yourself of the numerous forms of trick lenses and lens attachments.
A distortion mirror will give some unique effects. You can get a lot out of
your camera as it stands. For instance, while you are patching up a series of
detached scenes, it seems that a little pep is needed. You cut in a title, reading
Things were going topsy turvy and shoot a few seconds of the closeup of a
chimney with the smoke going into instead of out of it. Just enough for a laugh
and go on with the straight subject. You can show people all hurriedly back-
ing in or out of a city hall or police station, reverse street traffic or similar
stuff. Or, with half straight and half reverse, by a careful joining you can show
someone tossing water out of a pail into the air and catching it in the pail
again. This is done by filming the same scene twice, once in reverse. Just a
little gag like that will Pat and Mike three or four minutes of dull stuff.
The original backwards effect was developed in 1896 when an operator,
turning back the film, discovered that motion was reversed. The following
week the theater had a picture of divers jumping into the water and out again.
Since then there have been 1,964,583 pictures showing divers jumping out of
the water. That's plenty. You do something else. It takes no more film to
show a football player in reverse, the ball apparently striking his foot and
bouncing into his hands. And that's newer. It is just as simple to show a boy
sliding up a pole instead of down. Another good reverse effect is to show some-
one scooting up a snow or grass bank, head forward. This goes well with a
chase sequence and was often used in the old comedies.
Work the gag into a story when possible. The policeman chases little Willie.
Willie gets on top of a wall or the roof of a shed and thinks he is safe, but the
policeman gracefully leaps up beside him. Of course, the policeman jumps off
the wall backward and then backs out of the field of the camera while being
filmed with the camera held upside down. This is easier than it sounds. For
that matter, it can be done without reverse. Cut when the policeman starts to
jump and match neatly with a shot of a man apparently just landing on the
roof. Your spectators will think they actually saw him go up. If not, it still
looks funny.
Use the same technique to have a man jump in or out of a barrel, go through
a length of sewer pipe, scale a ladder in nothing fiat or go through a plate glass
window without breaking the glass. Show the subject on one side of the glass.
Mark where he stands. He starts to jump up and down. Cut. Put him on the
other side of the glass and have him jump up and down again. Trim off the
upward motion of the second jump and splice the scene of the upward jump on
one side of the glass to the scene of the downward jump on the other side,
selecting the highest point in each jump for the splice. It will really fool them.
Using the same technique you employed on Uncle John, you can show a
chase with the victim losing his garments until he is sprinting along in his
shorts. It is the lowest form of humor but it seems that a laugh is guaranteed.
It has been used in hundreds of professionally made comedies and you might
do it once. You might show a person running down [Continued on page 220]
200
201
A sprinkling of
closeups aids the
cinematic flavor
r. Jan Lauschmann. courtesy American Arinual Of Photograi>hy
OUTDOOR sports, always among the best of subjects
for the amateur movie camera, at this time of year
offer a very wide range of action from which the
filmer may pick and choose. The motion picture camera is
the best medium for the study of sports — for analysis of
correct style, rhythm, timing and all the fine points. This
is true whether the camera has the added advantage of slow
motion or not but. with the advantage of slow motion, the
movie becomes a better medium of study than viewing the
sport itself. Sports films have a general entertainment ap-
peal. Even though the audience may not have a particular
interest in the sport depicted on the screen, the study of
human action is always fascinating.
A good sports picture is the result of a good continuity,
filmed with intelligently chosen camera angles, interspersed
with slow motion studies of significant action and assembled
with care. Another factor might be added, and that is the
generous use of footage on action that cannot be retaken. One
of the most important of these points is the use of a large
variety of angles in both normal and slow motion, for it is
the use of the unusual angle that gives audiences a view that
could not be obtained from the grandstands while watching
the sport in real life.
Tennis, for example, can rarely be seen as well from the
grandstand as it can through the aid of a camera handled by
an active movie maker. A good opening shot is a wide angle
view from above which will show the whole court and the
players in action. Enough footage should be made so that
portions of this scene could be cut in several times during
the progress of the picture. Then make shots from eye level
of each side in action. Follow with several shots of each
player in full figure plus the height necessary for swinging
the racquet over the player's head. Slow motion shots around
the court, made from the same eye level, are interesting and
bring out points not ordinarily noticeable to spectators.
If the cameraman can move on the court to make staged
shots, an excellent scene can be obtained by placing the
camera on the ground near the net at a point near the center
of the court and filming the player hitting shots over the net
and over the head of the cameraman. Another very effective
angle is obtained by placing the camera on the ground about
fifteen feet from the center of the net. Shoot through the net
at the player on the other side and a very interesting scene
will result, particularly when the play works up toward the
net. These scenes should be fairly short. By cutting up the
action into many short scenes made at various angles, the
illusion of following the play in detail is best obtained.
Closeups of ball and racquet add variety and cinematic inter-
est to a tennis film.
Golf offers an opportunity to get nicely composed scenes
as well as good angles of sport action. A wide angle shot of
a selected tee with the players coming up with their caddies
should start the subject. Then should follow a medium shot
which just about covers the first player as he takes a club
from his bag. tees up the ball and drives. To make this scene,
stand in front of the tee at an angle of about forty five
degrees from the direction of the drive. The next shot might
be made from behind the tee. showing the next player driving
his ball directly away from the camera which is on a level
about six inches above the tee and far enough back to take
in the whole swing. To film the third player, place the
camera on the ground directly in front of the action and at
such distance as to include slightly more than a full figure
of the player. Tell the player to drive the ball toward the
camera. The lift will, of course, swing it over the camera
but the cameraman would be safer outside the range. Start
the camera and move to one side during the action. A slow
motion shot of this scene would be most effective. The last
player in the foursome might be filmed from a side view.
A slow motion shot from this viewpoint also has interest and
the slower it is the better, since this viewpoint reveals the
golfer's technique.
Slow motion shots of scenes of golfers working out of
traps are best when they include the player, trap, green
and flag. The usual fairway shots might be made next and
then could come scenes of putting. To avoid using too much
film on scenes of putting, have the players first practice from
various spots on the green, then make scenes of each putt
from a different angle.
The eight oared crew
out for practice or an
actual crew race pro-
vides excellent material
for the cine camera.
Usually this subject
[Continued on page 219]
How to
c o n t i n u
plan
ties
the
for
spring game films
RUSSELL T. ERVIN, JR.
Seasoning for seasona
I sports
y> m0*>- "^W"^
The midnight sun
as recorded with
"pa n" a nd filter
Stunt of the month ■ Moving titles of string, spliced
into suitable subjects, will add a
novel note to trick films or home newsreels. The title may be
made by arranging a piece of white string on a dark back-
ground, which must be horizontal, with the camera mounted
vertically above it. The string is coaxed into shape to form
the letters of a word, such as Finis, which should be a
suitable title on which to try out the idea. Start the camera
and, while it is running, pull the two string ends steadily
away until the word has disappeared and only a single, taut
line remains. Projected on the screen, the word will be
seen resolving itself into a line. The same thing done with the
camera held upside down will give a very mysterious effect.
Reversing the film end for end, the straight line will be shown
forming itself into a word. Or, if it is inconvenient to invert
the camera, the word may be formed upside down with respect
to the camera. By splicing the two titles together, showing the
latter one first and following immediately with the first one,
the effect is that of a straight line which shapes itself into a
word and then resolves back into a single line. The idea can
be developed further by linking together pairs of shots made
in this manner so that each word of the phrase is seen making
and unmaking itself in turn. Some assistance is desirable in
making titles in this way, as it is not easy for one pair of hands
to manipulate both camera and string. Other decorative or
cartoon like shapes are easily made. The string should be of
heavy, white yarn and the background preferably should be
of black velvet. — Ian S. Ross, A.C.L.
S.M.P.E. Standards ^The Standards Committee of the
Society of Motion Picture Engi-
neers, which has done most effective, work in clarifying and
establishing standards in professional motion picture work,
has now, through a subcommittee, turned its attention to
16mm. film. The kind of research which results in such stand-
ardization cannot help but produce a beneficial effect on an
industry which is already so extensive and to which no such
procedure has yet been consistently applied. Of particular
interest are the standards considered for the latest develop-
ment, that of 16mm. sound on film. Manufacturers, dealers or
anyone interested in the 16mm. motion picture industry de-
siring further details may secure them by writing to the
Society's headquarters, 33 West 42nd Street, New York City.
Random Shots ■ A Piece of black PaPer' wrapped in the
form of a cone, with its small end se-
cured around the lens barrel by means of a rubber band,
will form an effective sunshade for making special shots
where the lens may be in danger of being struck by the direct
light. It is also an effective "flare preventer" when shooting in
brilliant surroundings. ■ An efficient "camera cave" to form
a background for a closeup of a flower or other small object
may be formed by painting the inside of a wooden grocery
box with a dull black paint. A lining of black velvet would be
even better. ■ Shots of still subjects, however beautiful their
composition, had better be made into lantern slides than
shown on movie film. Animation should be gotten into scenes;
the quietest landscape may be framed with the softly moving
branches of trees which lend life to the subject and yet accen-
tuate the distant repose. ■ You can make effective rain shots
with supersensitive film but be careful to shield the lens itself
from the raindrops. Shoot from under a good, big umbrella.
Coffee humidor ■ I nave found that certain cylindrical
coffee tins which hold a pound and are
about eight inches high are of just the right diameter to hold
100 foot reels. The covers of such cans fit tightly and they
offer a good means of storing the films to prevent them from
drying out. I have made these containers into humidors by
cutting a circular piece of blotting paper to fit the bottom of
the can; these are moistened at the same intervals as are the
regular humidifier cans. I find that one can will hold seven
100 foot reels of film. Adhesive tape or a lithographer's crayon
can be used to index the contents. — /. V. D. Bucher, A.C.L.
Amateur animation ■ l read Movie Makers regularly
and get much stimulus from
every copy. So that I may reciprocate in some measure the
benefit I get, I am sending a photograph and description
which illustrates how a
German amateur makes
effective animations in a
simple fashion. The film
in question shows the
human digestive system,
building itself by slow
[Continued on page 221]
Technical comment
and timely topics
for the amateur
RUSSELL C. HOLSLAG
The clinic
202
203
Sky silhouettes are
ace shots made with
filter and fast film
iwood M. Chaoe
The new film calls
for a new approach
to use of filters
FILTERS come up for discussion again
because, at this time, there are new
reasons for a better understanding of
their use. The introduction of the fast pan-
chromatic emulsions has brought a new in-
centive to filter work and, with them, it is
desirable that all filters be used more in-
telligently. While the use of filters has
been fairly well understood in conjunction with the normal speed, panchromatic
films, the new films have a different speed and color sensitivity which must be
kept in mind. Filters are used primarily to correct the color sensitivity of the
film, a sensitivity which differs widely from that of the eye. Because of this
difference, the subject is often shown on the screen in tones which do not appear
natural. To correct this condition, filters are used to screen out certain un-
wanted colors, usually blues, which strongly affect the emulsion. Then, too,
in photographing distant scenes, blue aerial haze is encountered which, unless
cut out by means of a yellow or red filter, seriously interferes with the sharp-
ness and detail of the image. To show the delicate detail in the white clouds
in outdoor scenes, the strong blue rays from the sky must be retarded.
The new fast film is better corrected for color than the regular "pan." The
new film is more green and red sensitive and less blue sensitive. Though higher
red sensitivity is not particularly desirable if correct tone reproduction is the
feature which is to be emphasized, it is of greater advantage photographically
than a high blue sensitivity in that it reduces the filter factors of the yellow,
orange and red hues considerably. Using the deep orange and light red filters
for overcorrection of color, very unusual results will be obtained which will be
interesting as a novelty. The high speed of the fast "pan" to red and green
now permits use of heavier filters under less favorable light conditions or with
slower lenses.
The high green and red sensitivity of the new film in conjunction with the
low blue sensitivity is of great value when making exposures without a filter.
Without recourse to a filter, it is now possible to obtain very satisfactory tone
reproduction under average conditions. The results obtained, without a filter,
on the new panchromatic emulsion approximate those obtained on the regular
film with a yellow filter.
The higher speed of the new film may cause some difficulty in summer
filming in the bright light at the seashore. Under conditions of this type, it will
be found that, to give the correct exposure, it would be necessary to give a
stop even smaller than the smallest found on the lens. Even with a yellow filter,
the film might be overexposed when using the smallest diaphragm opening.
It is not always advisable in a case of this kind to use a deeper filter. The
heavier filters do more than retard the light reaching the film because of their
lower transmission. These deep filters also cut off colors other than the blue. The
deep orange filters cut off all of the blue and some blue green. The red filters
cut off all of the blue, blue green and green. When filters are used which hold
back the green, the scene will not be shown on the screen in tone values which
appear to be natural because the eye is most sensitive to green. Any reduction
of green will result in the sky appearing dark. With the deep red filters, it
might even appear black. Though such an overcorrection might be desirable
in some special cases, it will not yield the best results in general. The solution
for those who wish to retard the light is to employ a neutral density filter simi-
lar to those now used for Kodacolor. These filters can be obtained with any
desired degree of transmission.
It is not possible to obtain satisfactory results when using two filters to-
gether, so two new filters have recently appeared which are particularly de-
signed for use with the fast film. These filters are combinations of a yellow
and a neutral which enable the photographer to obtain good color correction
without stopping down to an excessive point. The special filters are known
as 3N5 and 5N5. These filters are the Aero No. 1 and Aero No. 2 plus a neutral
density screen which gives the filters a factor of five times and seven times re-
spectively without overcorrection. (See News of the industry, page ???.)
The observing cinematographer may discover that the filter factors are not
always absolutely correct. This is not a fault of the filters but is due to a
slight emulsion variation and also to the fact that [Continued on page 220]
C W. GIBBS
"Super" and filters
On the necessity of "letting go"
204
PAUL D. HUGON
For
Here is a case where
cold water helps the
young actor "let go1'
Paul Parker
not
is key
amateur actors
to hold back
to success
TO THE amateur director who has to
deal with a cast composed of people
who are neither born nor trained
actors comes the unpleasant duty of teach-
ing his people how to feel with intensity
and how to express the emotions that are
to the drama what reason is to science.
"Why should I make a monkey of myself
just because movie actors do? Why is not real life good enough? If I know
how to do a job and get paid for it, why do I have to learn how to do it dif-
ferently for the screen?" Conscious or unconscious, these objections will cause
the individual to hold back instead of letting go and the film will fall flat, be-
cause "let go" is the key to dramatic success as surely as it is the key to real
life failure. The director knows this, of course, but he should also know how
to make the matter so clear to his cast that all restraint, except that called for
by the story itself, is cast to the winds and the entire company, while under the
lens, behaves like a bunch of dressed up South Sea Islanders.
If it were possible to film a production throughout as a test, the actors" habit-
ual objection would be answered by the screen itself. The most dignified indi-
vidual would realize to a certainty when he looked like a stick, on watching his
celluloid double go through his motions. But the footage and time wasted would
prove too costly and the persuasive and diplomatic director may succeed with-
out other weapons than a well oiled tongue. "Nobody wants you to make a
monkey of yourself — permanently." he will explain, "but a monkey is a pretty
good actor, isn't he? Did you ever see a crowd gather around a man eating a
sandwich in the street? But, if he has a monkey, there you will find a crowd
because a monkey knows how to be natural, and a civilized man does not. Most
of us have been used from childhood to repressing our impulses for fear of giving
offense to others. When you hate a person, you don't make faces at him or you
would soon have no face to make at anything or anybody. Half your education
consists in learning concealment, repression, keeping a stiff upper lip. But
that means we are often misunderstood and, in the movies, we simply must not
be misunderstood."
"You, doctor." the director might continue, picking on a restrained member
of the cast, "when you talk over a case with a confrere, use only a few
words because you understand one another; but, when you explain the details
of the same case to the family of the patient, you take the trouble to add many
words and to qualify your statements as you go to be sure they get your mean-
ing. Well, good pantomime is the same thing; it is the actor's way of making
sure that everybody in the audience will get his meaning or. rather, his feeling."
But the director will not make the mistake of allowing his artists to think
that mere excess of pantomime is the principal requisite. There are two sides
to this emotional reeducation: one is in short circuiting our inhibitions, giving
our impulsive responses free play; the other is in enhancing the quality and
variety of our responses, that we may truly feel (and. therefore, act without
great difficulty) what the audience expects us to feel.
True as it is that we are all human, the differences between individual endow-
ments are just as profoundly marked in the emotional as in the intellectual field.
With the advent of gland psychology, science is fast returning to something very
like the old division of temperaments into sanguine, nervous, bilious and phleg-
matic. One individual will be upset, whatever his educational inhibitions, by
details that will leave another quite cold. One type will turn every stimulus into
physical response. "I must go and see about it!" Another will argue end-
lessly with himself, "That isn't right, is it? Perhaps . . ." Yet another will
explode and spoil in an instant what he has worked for years to gain. And
another yet will be plunged into the depths of melancholy by the least thwarting
of his daydreams. To the extent that these types are well considered, the cast-
ing will be successful, and it would always be easier to choose the parts in a
play by temperaments than by real life vocations but. with amateurs, this
cannot always be done and the types may have to be mixed, with resultant cold-
ness on the part of a character supposed to be quick on the trigger, or melan-
cholia from another character who is expected to be always jolly, and so on.
Not that professional motion picture directors or casting managers make
much systematic study of psychology, or keep card indexed analyses of tem-
peraments. There is probably no industry in which [Continued on page 222]
IN THE past year and a half the home talkie has been gaining ground as a
new form of entertainment and its period of transition has been very similar
to that of the commercial talkie. When the latter was introduced, sound on
disk in synchronism with the picture was the common method employed in
giving sound to the silent film. Then came sound on film.
For sound on disk, a turntable, pickup, amplifier and speaker are added to
the present projector and both the projector and turntable are generally driven
by a single motor through flexible coupling. The turntable is run at 33 1/3
rpm. and the sixteen inch record has a playing time of twelve to fifteen min-
utes. The film is usually equipped with a leader which has a frame marked
Start. This frame is placed in the aperture and the pickup is placed at the
point on the record marked Start. The motor is then started and in a few
seconds the show is on. As is seen, there is no great change necessary in the
construction of the projector.
On the other hand, sound on film entails quite a few changes and additions
in the projector. The sound is now photographically placed alongside the pic-
ture and, to reproduce this sound, a photoelectric cell, exciter lamp, amplifier
and a lens system are necessary. The beam from a small, high intensity electric
light is concentrated by an optical system containing a slit and brought to
focus as a fine line across the sound track of the film as it passes through a
sound gate. The film at this point moves uniformly and at the same speed as
used in recording. On the side of the sound gate opposite the light is a photo-
electric cell which responds to variations in the amount of light striking it by
letting pass a varying electric current. The more light, the more current, and
it responds practically without lag to the fluctuations in the light received.
The sound corresponding to the action is never alongside the picture but a few
inches ahead of it. In other words, the sound gate is below the picture gate.
This is necessary in order that the film may travel smoothly past the sound gate.
A slack of several inches of film is allowed in order to attain this uniform
action. If there were no slack, the intermittent action of the film necessary to
picture projection would cause a "flutter" in the sound reproduction. The
output of the photoelectric cell amplifier is then fed to the standard amplifier
and speaker, which is similar in its design to that used in an ordinary radio set
At the present time, sound on disk is used almost exclusively but sound on
16mm. film has already made its appearance and there is no doubt that both
methods will have many followers. The sound on disk, as we all know, is the
oldest method of sound recording. It has been in course of development for
over thirty years and today the sound is well nigh perfect. Naturally, more
work on the part of the amateur is required because of the disk but he is
more than recompensed for his pains by the reproduction of talkies in his
own home. If the film happens to break, it cannot be repaired like the silent
film. With the latter, splicing is a comparatively simple matter, torn frames
being cut out and the two pieces spliced together. Many frames can thus be
cut out without affecting the action materially but, with sound on disk film, there
must be a certain number of frames to the foot to keep synchronism and every
time a frame is removed it must be replaced with a blank frame. If a little
care is exercised in rewinding the film, there will be little trouble from break-
age. This method of giving sound to the silent film does not involve any elab-
orate changes in the projector and there are sound units available now which
can be attached to any existing projector. The initial cost is generally less
than sound on film. The film rental may be a bit higher but the quality is
excellent if a good pickup, amplifier and speaker are used.
On the other hand, recent demonstrations of sound on 16mm. film have
been very promising. The major difficulties such as linear speed, lack of space
on the narrow film for the sound track and uniform speed have evidently been
overcome and the quality bids fair to equal that of the disk record. The pro-
jection machine is more complex due to the addition of a photo cell, exciter
lamp, lens system, split block and photo
cell amplifier. Greater care is necessary
in maintaining the sound head assembly.
The sound optical system must be care-
fully used and the exciter lamp and photo-
electric cell must be in perfect condition
and always operating at their rated values.
The greatest [Continued on page 226]
An impartial view
of the two systems
of sound apparatus
Irving Brownins
And what would a
m e r rygo round film
be without music?
GEORGE J. SALIBA
205
Home talkies — film versus disk
206
Amateur clubs
ARTHUR L. GALE
First in Mail16 ■ The recently organized Maine Amateur
Cinema League, in Portland, Maine,
met with splendid reception on its formation. The new club
will hold regular program meetings, offering technical lec-
tures, demonstrations of equipment and attractions of interest
to the amateur cameraman. Dr. Alfred 0. Gross has been
chosen president; Miss Ruby M. Wiscott, secretary treas-
urer; Frank M. Wardwell, H. M. Armstrong, Dr. George J.
Anderson, Joseph B. Kahili and Phillip I. Milliken, A.C.L.,
members of the club's directorate. At the preceding organiza-
tion meeting, A. H. Dockray discussed amateur movie club
organization and Harrie B. Coe, A.C.L., the club's sponsor,
screened films made by the State of Maine Publicity Bureau.
Hudson county
At the latest meeting of the Hudson
County Cine Club, Yellowstone,
filmed by William J. Shannon, A.C.L., New Scenes Of New
York, made by Robert Crawford, A.C.L., and Moon Movies,
from the League's Club Library, were screened. At an earlier
meeting Dr. Norman L. Rowe, A.C.L., screened several fine
reels of European travel film. The club publishes a monthly
magazine and now has an active membership of twenty eight.
New York ready ■ ^n tne preliminary contest recent-
ly held by the Metropolitan Motion
Picture Club in New York City to determine its entries
in the interclub contest, the first award in the travel
and scenic class was given to Streams, filmed by Charles J.
Carbonaro, A.C.L. In the same class, the second award went
to Cascade by Robert Coles, A.C.L., and the third award to
In Old Habana by Hermann Danz, A.C.L. In the photoplay
class, the first award was given The Jam Of Jim Jones, an
amusing comedy by Frank J. Boylan, A.C.L., and George A.
Ward, A.C.L., the second to Impromptu Productions by Miss
Grace C. Clarke, A.C.L., and third to Does It Pay? by Sidney
Moritz, A.C.L. In the Kodacolor division, first award went to
One Summer's Day by Dr. George L. Rohdenburg, A.C.L.
The miscellaneous class first award went to From Crane To
Sack by Hermann Danz, A.C.L., second to Metropolitan
Reviews, by Norman D. Taylor, A.C.L., third to Turn On The
Heat by Frank J. Boylan, A.C.L. William L. Woodburn.
president of the Newark Camera Club, Thomas 0. Sheckell,
James L. Waters and Dr. D. J. Ruzicka served as judges.
Latest news of
group activities
and photoplays
A challenge for an
interclub competition
was sent to the Hudson
County Cine Club,
Philadelphia Amateur
Motion Picture Club.
Larchmont Cinemat
Club of Mt. Kisco and
Hartford Motion Picture Club and it is expected that all of
these clubs will accept. Final results of the contest will
appear in the next issue of Movie Makers. At present, this
promises to be the biggest of interclub contests.
Chose Contestants ■ Tne latest meeting of the Phila-
delphia Amateur Motion Picture
Club was devoted to the projection of films submitted by
members in the contest for the selection of reels that are to
represent the club in the interclub competition. Classifica-
tions in the contest were travel, Kodacolor, photoplay and
miscellaneous. Frank Buhler and Eric M. Knight, motion
picture critic of the Evening Ledger, acted as judges. Re-
sults will be announced by this committee at a later date.
Film detective ■ ^n Minneapolis, Minn., a feature
length mystery drama is being filmed
by an amateur production unit working under the leadership
of James F. Bell, Jr., A.C.L. The picture, now nearly com-
pleted, will run approximately 2,400 ft., 16mm., and will
include many sequences involving unusual lighting effects.
A novel mystery story is offered by the fact that the guilt is
detected by amateur movies. James F. Bell, Jr., is director;
Charles Bell, A.C.L., and Ben Bull, A.C.L., are cameramen;
Lyman Howe, A.C.L., is in charge of lighting. In the cast are
Walter Heffelfinger, A.C.L., Eleanor Howe, A.C.L., Garnet
O'Brien, A.C.L., Evelyn Dalrymple, A.C.L., Robert Flanagan,
A.C.L., Lucy Bell, A.C.L., and Harry Belden, A.C.L.
In Chicago ■ The spring programs of the Chicago Cinema
Club present a wide variety of attractive
offerings. Among the highlights are the screening of members'
films, a program of questions and answers, the projection of
city film studies, the screening of The Maharajas Of India
by Dr. Vernon B. Herbst and [Continued on page 222]
Clyde Hammond, Youngstown, Ohio
Climactic scene of
the tragic film, "A
Girl With A Dress"
207
An improved camera
at a lower price is
claim for new Victor
Answers the query,
"What's new?" for
amateur and dealer
Silver anniversary ■
The League and Movie
Makers this month felic-
itate a great, pioneer
cinema manufacturer on
this, its anniversary of
twenty five years of fine
service to the profes-
sional and amateur motion picture industry. Celebrating this
silver anniversary of the Bell & Howell Company, Filmo
Topics for April and May is unusually attractive and helpful
and should be seen by all active movie makers. The lead
article, A Quarter Century Of Leadership, tells of the growth
of the company, with the history of motion pictures and of
the advent of the Filmo camera in 1921. Other articles are
So You've Bought A Filmo, Movies In Color, Rip Returns,
a plot suggestion, Movies In Industry, Education And Medi-
cine and Golf Taught With Movies. A copy of the Silver
Anniversary issue may be had on request to the Bell & Howell
Company, 1801 Larchmont Avenue, Chicago, Illinois.
New Victors ■ "Improved cameras at substantially re-
duced prices" is the characterization ap-
plied to the new line of Victor Animatograph cameras and
auxiliary apparatus, announced this month. It is stated that
these models are not former merchandise offered at closeout
prices but, rather, redesigned and newly manufactured appa-
ratus embodying definite improvement to aid the amateur in
finer filming. The new cameras will be known as the Models
3 and 5. The latter includes all the excellent features of the
former Model 5, such as visual focusing, three lens turret, five
speeds and so on. In addition, there are the following new
features: attached winding crank which may also be em-
ployed for hand cranking; graduated "Adjustafinder" for
accurate finder compensation in both closeups and long shots;
new visible and audible film footage meter of high accuracy;
film loop guard which is said to make impossible the loss of
the loop after the film has been threaded; improved carrying
handle and a new finish of gold flecked brown lava with
chrome trim. The instrument comes complete in a special
brown leather case with plush lining which is said to be very
fine in its appointments. The standard lens equipment is the
Meyer f/2.9 Trioplan in focusing mount. Other lenses may
be had for the remaining places in the turret, as desired. The
new Model 5 is now priced at nearly one fourth less. The
former Model 3 Victor, the nonturret camera with multiple
operating speeds, is now offered at nearly thirty five percent
reduction in price. It has a new carrying strap, chain attached
crank and //3.5, fixed focus 20mm. Dallmeyer lens. Koda-
color movies may be made with either model by the use of
the proper lens equipment. ■ A further item of interest in the
Victor line is found in the Pocket Titler, a convenient, col-
lapsible little device which may be slipped into the coat
pocket for titling at any and all times, it is said. Closed, its
outside dimensions are one by four and one eighth by seven
and three quarters inches. The device may be set up in a
moment, the camera rest being of novel design in that the
titles are made with their long dimension vertical. It is not
necessary to fasten the camera in place as it is thus used on
its side. The titles are correctly centered on the screen by
means of the collapsible easel which provides means for any
background desired. Opaque or translucent backgrounds can
be used and the titles may be pulled through slowly in long
strips to provide "traveling" effects. Small objects such as
flowers, insects, etc., may be brought to a sharp focus on the
film by means of this device. The Pocket Titler is available
in 20mm. and one inch focal length lens models for both
Victor and Filmo cameras.
New RolleifleX ■ The popular, imported Rolleiflex
visual focusing camera, used by many
movie makers as an aid to their work, is now introduced in a
new, improved model in the 6x6 cm. size (21/4"x21/4"). The
new model has an automatic film moving mechanism which
operates, not by a winding key but by depressing a lever, the
film being moved accurately from picture to picture. The
outstanding feature, that of the visual focusing screen which
shows the picture in exact size both before and after exposure,
has been improved by a new ruled centering screen and by a
magnifier which automatically springs into place when the
camera is opened. In addition, a clever auxiliary indicator
makes visible both focusing and diaphragm scales while
looking into the focusing hood. The new camera has all the
precision of former models and, though incorporating many
additional features, is just as compactly built. According to
Burleigh Brooks, 127 W. 42nd [Continued on page 224]
News of the industry
Your camera is a bottle!
208
Leo J. Heflernan
How movies preserve
the present for the
future, interpreted
in double exposure
Delicate chemical
tests are clearly
shown when filmed
Medical ■ Interesting data on two perfected methods of
obtaining, by means of X rays, motion picture
views of the arteries, stomach and intestines was presented
at a recent meeting of the St. Louis Society of Radiology by
Dr. Carlos Henser, Buenos Aires, and Dr. Lewis Gregory
Cole, New York City. Dr. Cole has produced many films on
the stomach and one film on tuberculosis, showing pathology.
X ray findings, progression, etc. ■ On a new method of
treating tooth roots, a film has been produced by M. Boden-
stien, Prague dentist, it is reported. M Facilitating the solu-
tion of certain hitherto unknown medical problems, the first
showing of a film demonstrating the progressive development
of the heart and circulation of a chicken from the embryonic
state recently took place at the New York Academy Of
Medicine, according to The New York Times. H Motion pic-
tures taken of the heart of Nurmi, champion runner, by his
medical advisor, prove the Finn's heart is three times as
strong as that of the ordinary man, it is reported. ■ Showing
that the health of mothers is essential to the health of the
race, the Evangelistic Leagues in Germany have combined in
the production of a film, Der Grosse Strom. ■ Several 16mm.
films in which the lip movements of the actors are sufficiently
visible for deaf people to read their words have been pro-
duced by Mary Mason under the direction of Dr. G. Oscar
Russell of Ohio State University, Bell & Howell reports.
Business ■ B°und To Circulate is the title of a three reel.
16mm. picture recently made for the Pacific
Library Binding Company in Los Angeles, Calif., by John
R. Gordon. It shows the complete process of rebinding books
badly worn or damaged by the rigors of public library service.
Over a thousand persons viewed the film at its first public
screening. ■ The first screening given an amateur industrial
film showing the manufacture of storage batteries resulted
in a sales contract of several thousand dollars. The picture
was made at the Solar Battery Plant in Beaver Dam, Wise,
by C. A. Starkweather, A.C.L., and was titled by C. L. Feldt-
keller. ■ How modern fireworks are manufactured and used
will be shown in a twelve hundred foot, 16mm. film now being
made by Edward T. Curry. A.C.L.. at the plant of the Unex-
celled Manufacturing Company, Staten Island, N. Y. The
film will cover safety methods used in the manufacture,
storage and transportation of fireworks. It will also show
Frank H. Cd
LOUIS MILLER BAILEY
Educational films
the uses of fireworks in displays, government ordnance and
commerce. ■ C. D. Huyler. A.C.L., is making a series of films
of the plantations, shooting preserves and sea islands near
Charleston, S. C, which are offered for sale by Elliman,
Huyler & Mullally. Inc., realtors. Each film will deal with
but one property, presenting in detail its beauties and sports
facilities, while each of the group will be introduced with a
longer picture presenting in general terms the attractions of
the Charleston plantations. A prospective client will thus
see the longer film for general information and a selected
shorter film of the specific property which interests him.
■ A Picture Of Lannon Stone will be the title of a film of the
operations of the Lannon Quarries Corporation now being
made at Beaver Dam. Wise, by C. A. Starkweather, A.C.L.
Starting with a geological story of the origins of this stone,
the film will show its quarrying, shipping and building uses,
it is reported.
School ■ I have been using 16mm. film for many years
in school work," reports penmanship and art
instructor. Marie E. Kaufmann. A.C.L. charter member,
Plattsmouth. Nebr. Miss Kaufmann has filmed the work of
her penmanship classes and has edited and titled, for educa-
tional use, several thousand feet of 16mm. film taken on
European travels. H Armed with thousands of feet of 16mm.
film, a round the world trip which will take about a year and
a half and which is expected to yield much excellent material
is now being taken by Dr. R. F. Piper, professor of phi-
losophy. Syracuse ( New York ) University. Dr. Piper has
long been interested in the use of 16mm. in school work, hav-
ing produced Syracuse University In 1930, a 3000 foot film.
Welfare ■ T° S*ve motion picture shows for the unem-
ployed and their families is the use to which
Otto G. Liebenow, A.C.L., Racine, Wise, puts his projector.
Mr. Liebenow has rent-
ed a hall in which, once
a week, he puts on the
film program, invita-
tions to which are sent
to over 150 families.
Free films are shown.
[Continued on page 226]
Medical, business,
sc
ho
If
welfare,
church & other uses
209
210
Your every film ... a stai
Difficult shots become easy. . . ordinary shots
assume new qualities. . . every foot of recorded
film flashes on your screen with added bril-
liance. . . thanks to these companion "Ks"
HOME MOVIES without the usual limitations. Movies
of every possible type. Telephotos, wide angle shots, in-
door scenes as well as those outdoors. You've wanted to
make them. Now you can... and be certain of results far
above the ordinary run.
Cine -Kodak K and Kodascope K make these star
MOVIE MAKERS
211
production
uctions possible. Instant interchangeability of
:s, built-in winding crank, two finders — they're all
res of Cine-Kodak K. When loaded with Cine-Kodak
:hromatic or Cine-Kodak Super-sensitive Panchro-
c Film, this camera is ready to take brilliant pictures
r a wide range of conditions.
the projection of your finished films with Koda-
K, the extra illumination, readily accessible con-
, improved cooling system, assure theatre-like bril-
:e, smoother, more convenient operation.
3ur Cine-Kodak dealer has the proof. Let him pre-
it.
CINE-KODAK, MODEL K
i. Half-speed at the press of a button doubles the
exposure time.
2. F.3.5,/. 1.9, Wide Angle, and Telephoto lenses
instantly interchangeable.
3. Winding crank permanently attached and al-
ways ready for use.
4. Dependable motor that obviates any chance of
starting failures.
5. Two finders — one for eye-level, the other for
waist-height use.
6. Plenty of finger room for quick and easy film
loading.
7. Automatic footage indicator registers amount of
unexposed film.
8. Finished in black, blue, or brown genuine
leather with carrying case to match.
9. Price with f.1.9 lens, $150; with ^3.5, $1 10.
Carrying case included.
KODASCOPE, MODEL K
1. Improved optical system results in maximum
screen brilliance.
2. New type fan prevents overheating even after
hours of running.
3. Receptacle for plugging in room lamp. When
Kodascope lamp switch is on, the room light
is off.
4. Rewind lever automatically disengages when
projector is started.
5. Lens mount permits interchanging lenses of va-
rious focal lengths.
6. Illuminated ammeter supplied as standard
equipment.
7. Hinged door on lamphouse for easy cleaning of
lamp and condenser.
8. Central oiling point for most of the important
bearings.
9. Price complete, $175; without carrying case,
$160.
A.STMAN KODAK COMPANY
ROCHESTER,
NEW YORK
210
MAY 1932
MOVIE MAKERS
Your every film... a star production
Difficult shots become easy. ..ordinary shots
assume new qualities. ..every foot of recorded
film flashes on your screen with added bril-
liance . . . thanks to these companion "Ks"
HOME MOVIES without the usual limitations. Movies
of every possible type. Telephotos, wide angle shots, in-
door scenes as well as those outdoors. You've wanted to
make them. Now you can. ..and be certain of results far
above the ordinary run.
Cine-Kodak K and Kodascope K make these star
productions possible. Instant interchangeability of
lenses, built-in winding crank, two finders — they're all
features of Cine-Kodak K. When loaded with Cine-Kodak
Panchromatic or Cine-Kodak Super-sensitive Panchro-
n*,,c *"m> this camera is ready to take brilliant pictures
und« a wide range of conditions.
Q 'he projection of your finished films with Koda-
'e K, the extra illumination, readily accessible con-
■ improved cooling system, assure theatre-like bril-
liance * , ° '
liance,
-, --. „..,. — „j
°ur Cine-Kodak dealer has the proof. Let him pre-
sent it r
smoother, more convenient operation.
CINE-KODAK, MODEL K
I. Half-speed at the press of a button doubles the
exposure time.
2- f-3-5>/i-9> Wide Angle, and Telephoto lenses
instantly interchangeable.
3. Winding crank permanently attached and al-
ways ready for use.
4. Dependable motor that obviates any chance of
starting failures.
5. Two finders — one for eye-level, the other for
waist-height use.
6. Plenty of finger room for quick and easy film
loading.
7. Automatic footage indicator registers amount of
unexposed film.
8. Finished in black, blue, or brown genuine
leather with carrying case to match.
9. Price with / 1.9 lens, $ 1 50; with / 3. 5, % 1 to.
Carrying case included.
KODASCOPE, MODEL K
1. Improved optical system results in maximum
screen brilliance.
2. New type fan prevents overheating even alter
hours of running.
3. Receptacle for plugging in room lamp. When
Kodascope lamp switch is on, the room light
is off.
4. Rewind lever automatically disengages when
projector is started.
5. Lens mount permits interchanging lenses of va-
rious focal lengths.
6. Illuminated ammeter supplied as standard
equipment.
7. Hinged door on lamphouse for easy cleaning of
lamp and condenser.
8. Central oiling point for most of the important
bearings.
9. Price complete, Si 75; without carrying case,
S 1 60.
EASTMAN KODAK COMPANY
ROCHESTER,
NEW YORK
212
MAY 1932
FILMADOR
the thermo-humidor film safe
Prevents
YOUR
Films
FROM
Shrinking
AND
BECOMING BRITTLE
IN WARM
Dry Weather
INNER
CONTAINER
Has inner humidor and
outer thermo - container
with dead air space be-
tween the units. Moisture
cannot escape nor can
dry air enter. Requires
very little attention.
Holds three J
400 ft. reels
of 16mm. film.
5
.00
WILLOUGHBYS
110 West 32nd Street
N. Y.
Taught by the tropics
Part II (Continued from March)
THE REVEREND PETER L BELL, S.D.W.
ALTHOUGH relatively few ama-
teurs attempt developing and
^ printing in the tropics, for
those who wish to do their own work
on still film or on test strips of movies,
the following experience secured in the
Dutch East Indies with the Mission
Movies department of the Society of the
Divine Word might prove helpful. It is
an easy matter to take along the neces-
sary chemicals, packed separately for
better preservation, but there is one im-
portant thing which can not be taken
along and that is the water. The islands
where we were working are very vol-
canic and it was soon found this had a
definite effect on their water supply.
In Flores, one man boasted a darkroom
of three square feet. He claimed a fine
water supply and no trouble with re-
sults, but, when he showed samples of
his work, trouble ahead could be seen
when the first trial was made. While
still wet, the negative looked fairly
good but, as it dried, a maze of tiny
pin holes appeared in the emulsion, a
sure sign that the water had been too
warm. A thermometer reading showed
the temperature had been eighty six
degrees Fahrenheit. In the moun-
tains where it was a little cooler, an-
other test was made. In the beginning
the pictures came up nicely but then
very suddenly turned gray and almost
disappeared in a heavy chemical fog.
The water had a heavy sulphurous con-
tent, an impossible condition which was
soon found in many other places.
Rainwater gathered from the roofs
looked a bit yellowish and again gave a
fog which, though lighter, was too great.
It was found that the only water supply
free of trouble was a small mountain
river passing near the station. Even
this presented the problems of high tem-
perature and a fine sand held constantly
in suspension. After a few weeks, how-
ever, it was noticed that at night the
general temperature dropped and that,
at one in the morning, water registered
as low as seventy two degrees Fahren-
heit. Obviously, the task was to keep
the water at this mark or near it and for
this purpose a large cement tank,
double walled and with an insulating
layer of air, was built.
In this way, it was possible to keep
the river water within two degrees of
this low point, a thoroughly satisfactory
temperature from every angle.
There remained the problem of the
finely suspended sand. In order to
clear this, a series of seven containers
was arranged so that, before the water
could flow from one into the succeed-
ing one, it had to overflow the rim of
the preceding one and leave part of its
burden of sand in each vat. Then, be-
fore the water could enter the big cool-
ing tank, it had to pass through several
layers of cloth within a tin box perfo-
rated with small holes. And, as a final
Society of the Divine Word
Possibly the most unique
amateur laboratory is one
in the Dutch West Indies
precaution, water was drawn only from
the center area of the tank, it having
been noted that the finest particles of
sand persisted in floating to the top.
With this water arrangement and using
a good deal of bromide to guard against
fog, no further trouble from this source
resulted.
Nice care must be given, however, to
keeping the finished negative in good
shape. Moisture is likely to make the
film sticky or to promote the growth of
parasites in the gelatine. The only way
to keep it fresh is to dry it thoroughly
in the sun, wrap it in sun dried paper
and store it away in tin cans. Every
three or four weeks it should be brought
out in the sunshine for a short time
again. If one is not going to develop an
exposed film, it should be stored with
especial care or, best of all, shipped to
the home laboratory, for many films will
lose most of the image if kept a month
or more in definitely tropical weather.
For shipment, the film should be
wrapped in the papers in which it came
and then in others of an absorbent na-
ture, all of which should be dried in the
sun before use. It is not necessary nor
desirable to seal the film package in a
can after this wrapping but it should
be placed in the can for protection.
Photographic work in the tropics has
so many unexpected and interesting
sides that anyone who has the chance
to visit these parts of the world should
look to his filming. If you go to the
tropics, take your cine camera along.
MOVIE MAKERS
213
THE ^£ft£a£lotL-Of THE
MOTION PICTURE CAMERA WORLD
The new Model c SIMPLEX POCKETTE
CAMERA incorporates many new
refinements including a high grade
F. 3.5. Anastigmat lens of universal
focus. It uses a 50 foot Eastman
film cartridge. In addition it is
equipped with a speed changing
indicator, single picture control,
automatic stop device and
film footage counter .
*50
NEW MODEL C
JUST SLIP IN THE FILM
CARTRIDGE AND SHOOT!
No threading, no delicate adjustments to
be made, no delay or wasted film. Just
slip in the film cartridge and shoot!
The camera world has been looking for a simplified
pocket motion picture camera that would actually fit the
pocket and that would take pictures of professional qual-
ity. The SIMPLEX POCKETTE is it!
Compact and sturdy, it is put together as precisely as
an expensive watch. Its mechanical perfection is guaran-
teed by its makers, the largest manufacturer of profes-
sional motion picture equipment in the world.
See the SIMPLEX POCKETTE at your leading camera
store or write us for further information.
SPONSORED BY
The World's Largest Manufacturers of
Professional Motion Picture Equipment
INTERNATIONAL PROJECTOR CORPORATION
92-96 Gold Street, New York, N Y.
214
MAY 1932
$I40 Buys
the best straight 16 mm. cam-
era in the world today !
Filmo 70A is just that. Made
by Bell & Howell, master
camera builders. Sold and
unconditionally guaranteed
by Bass.
Your old apparatus is worth
real cash as part payment on
this fine model or on any
Filmo camera or projector.
Free to you — latest 74 page
Bell & Howell Catalog and
19 page Bass Bargaingram
No. 208B on request.
BASS
CAMERA COMPANY
179 West Madison Street
Chicago
Camera headquarters for tourists —
drop in.
16MM.
35MM.
SPECIALIZING
in the
design and construction of cam-
eras, projectors and printers built
to individual specifications.
Equipment altered, rebuilt
or repaired.
Estimates furnished on all
cinematic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
SOUND
112 East 73d St.
New York City
COLOR
Lookout Mountain
Splendid views from this famous old mountain
top. Also a wild ride down its incline rail-
road, the steepest in the world.
100 ft., 16mm. Price, $4.50
SIMPLEX FILM CLEANER
Three methods of cleaning your film are made
possible with this machine. Price $8.00.
•
SIMPLEX FADING GLASS
Make your own fade-in and fade-out. With car-
rying case and instructions. Price $2.00.
Produced by
ERNEST M. REYNOLDS
165 E. 191st St. Cleveland, Ohio
George Eastman
and amateur movies
[Continued from page 197]
This belief was presented to Mr.
Eastman and he was told that a success-
ful method of home movies seemed
indicated. He was quite promptly en-
thusiastic and called a meeting of his
associates to appropriate money for
carrying out research leading to the
desired end. This was the first of a
series of meetings that Mr. Eastman ar-
ranged, at each of which some detail of
the new plan was decided. The Re-
search Laboratories felt that the adop-
tion of a uniform film size was necessary
before attempts to perfect the reversal
process were begun and, consequently,
16 mm. was selected from several others
considered. Mr. Eastman early realized
the importance of confining home
movies to safety film. To this position
he pledged the Kodak Company and
also urged it upon other companies.
The other industrial firms concerned
stood with him and have never failed to
be faithful to this pledge, sometimes to
their own disadvantage. Mr. Eastman
also discussed with one competitor of
his company its plan to make an ama-
teur movie camera using 17.5 mm. width
film and pointed out the danger that
nitrate film of 35 mm. width could read-
ily be split and sold for use with it. This
competing firm agreed upon the danger
and, at a loss in changing tools, aban-
doned the project and standardized on
16 mm.
The Research Laboratories, under
the direction of Dr. C. E. K. Mees, at
once set about the task of perfecting
a reversal process. Although several
years of work were required, the ulti-
mate result was, as every movie ama-
teur knows, a practical and effective
process of reversal with a controlled
second exposure. It is this controlled
second exposure that permits the very
wide latitude in exposure error that
movie amateurs know today. John A. G.
Capstaff of the Kodak Research Labora-
tories, who later perfected Kodacolor,
was the man who saw the reversal
process research through to the finish.
His greatest contribution was in estab-
lishing practically the relationship be-
tween the first exposure and the con-
trolled second exposure.
The next problem that was presented
concerned the emulsion for reversal
film. Early Kodak Company experi-
ments were conducted with film bearing
an emulsion not well suited to the pur-
pose. Emulsions suitable for reversing
were new, but, under the active direc-
tion of William G. Stuber, president of
the company, of whom Mr. Eastman
once said that he possessed "a more
profound knowledge of photography
than any other living individual," the
emulsion problem was solved satisfac-
torily. So well was this work done that
the resulting film remained as regular
Cine-Kodak film until it was recently
supplanted by panchromatic. The
question of daylight loading was solved
by adopting the present "reel and pill-
box" arrangement with paper leaders
on the film. Mr. Eastman again par-
ticipated personally in this decision.
During these experimental 16 mm.
years, there had been created the De-
velopment Department of the Kodak
Company, which was bracketed with
the Research Laboratories under Dr.
Mees's auspices. This department was
organized to do in mechanical develop-
ment what the Research Laboratories
The late George Eastman
were doing in photographic progress.
About simultaneously with the begin-
ning of research on the reversal pro-
cess, this new Development Department
undertook the quest for a simple 16 mm.
camera and projector to be ready when
the reversal process should be per-
fected. Here, again, Mr. Eastman's
finger came into the pie. At one meet-
ing of himself and his associates, the
question was discussed as to whether
the Cine-Kodak, Model A — the first one
of the series now so familiar — should
have a hinged door or a removable door.
After hearing and pondering the report
of the Development Department, Mr.
Eastman decided upon the removable
door, remarking, with his exceedingly
dry humor, "What's the use of having
been boss here all these years if I can't
have it the way I want it?" His opinion
prevailed, although he was not a man
to insist that it should always prevail,
and, despite the fact that there was
some feeling at the meeting that a re-
movable door would cause complaint,
events proved that Mr. Eastman was
right, because no complaints ever did
come in about it. When he made a
decision, he was usually right.
Jules Tessier was brought over from
MOVIE MAKERS
215
France to design the Cine-Kodak Model
A and the Kodascope Model A. This
early system of cinematography for the
amateur reached the market in 1923.
The Development Department, however,
went forward to the production of the
spring driven Model B, which was of-
fered in 1926. In the face of the very
active and rapid development of new
Cine-Kodaks and Kodascopes, the
Model A camera is still used by many
amateurs, because of its excellent qual-
ity and because adaptations to advanced
amateur requirements can so readily
be made upon it, while the original
Kodascope is still a popular seller as a
part of the general Eastman line. M.
Tessier and the Development Depart-
ment built soundly. During all of this
development, Mr. Eastman frequently
telephoned for the models to be brought
to him so that he might see for himself
the improvements being made.
Mr. Eastman personally approved of
the wise decision of his associates to
insure uniform treatment of reversal
film by the establishment of processing
stations. He looked forward to the
world acceptance of amateur movies
and directed the setting up of regional
processing stations, as needed, with the
result that today only the most remote
travelers are out of touch with ready
reversal processing of their Eastman
films, the processing and return ship-
ment taking place the same day as that
on which the film is received. Mr. East-
man's certainty that amateur movies
would have the same wide geographical
acceptance as amateur still photog-
raphy has been justified by events.
On a visit to Alaska, Mr. Eastman
took with him the first spring driven
model Cine-Kodak, even before this
model had been perfected sufficiently to
be offered to the public. True to his
detailed bent, he wanted to try it out
himself. On his famous African voy-
age, he took two Cine-Kodaks, with long
focus lenses of different lengths, before
such equipment had been made ready
for the public. Here it was that he
filmed the charging rhinoceros, with
which footage his friends are so fa-
miliar. There is a typically Eastman
anecdote in this connection. He was
projecting this sequence, in his home,
for a group of friends, including Will
H. Hays. The rhinoceros on the screen
charged head on at the camera and
at terrific speed. He seemed, in fact,
to come right into it — and yet there,
unharmed, sat the man who pushed
the Cine-Kodak button to make the
picture. The guests were greatly ex-
cited and clamored for explanation.
"My hunter, who was standing right
beside me, shot the rhino before it
reached me," was the host's reply.
"But how close was the beast when
the hunter fired?"
"Perhaps ten yards."
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4,TESSARF2.7andF3.5,TELE-TESSAR F6.3
■ FINDERS ■ FILTERS - SUN SHADES -
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., NewYork. 728 South Hill St., Los Angeles
III Sensational MOVIE OFFER!
An Additional Shipment at Far Below
HALF PRICE
De Vry
AUTOMATIC CAMERAS
ELECTRIC PROJECTORS
ABOVE, THE CAMERA
The de-pendable Graf f/3.5
anastigmat lens in standard
mount. Powerful automatic
motor. Uses 16mm. film.
BELOW, THE PROJECTOR
Model D. Suited to 50 ft.
throws. Uses 250 watt frefo-
cused lam-p. O-perates on either
AC or DC.
Regular Prices
Camera $57.50
Projector 98.00
Total $155.50
ABE COHEN'S
PRICE FOR BOTH
50
Here is one of the
greatest values ever to
be offered in automatic
cameras and projec-
tors. A handsome,
rugged, accurate DeVry
Automatic Movie Cam-
era— and a powerful
projector that present
beautifully clear, pro-
fessional quality pic-
tures. A special quan-
tity purchase by Abe
Cohen's makes possible
this sensationally low
price.
I
69
COMPLETE
AbeCohensExchange
120 FULTON ST NEW YORK, N. Y.
DEALERS— Write in for special
proposition in your territory.
216
MAY 1932
CINE ART
PRESENTS A SERIES OF
AIR THRILLS
Photographed by Elmer G. Dyer,
A.S.C., daring cameraman on Hell's
Angels, Dawn Patrol, Lost Squadron,
Sky Devils and other air epics.
These 100 ft. subjects are from
some of the most thrilling films
which Mr. Dyer has made.
THE DOG FIGHT
A grim reproduction of a battle to
death between two War Aces — a
breath taking picture that will chill
your blood with its terrific reality.
No. 291-A 100 feet, 16mm.
AIR STUNTS
Did you ever see a closeup of an
aviator while flying upside down or
side slipping, for thousands of feet,
then spinning end over end ? Not one
inch has been faked.
No. 292-A 100 feet, 16mm.
BAILING OUT
Vivid closeups as the daring para-
chute jumper rips the cord and is
jerked into space from a 150 mile an
hour speeding ship, then closeup views
as he guides himself earthward.
No. 293-A 100 feet, 16mm.
DEAD STICK LANDING
Pilot and cameraman show their dar-
ing by actually cutting off the motor
and making a dead motor landing,
actually photographed from the plane.
No. 294-A 100 feet, 16mm.
FLYING THE MAIL
Actual scenes made aboard a mail
ship while battling a raging storm in
the mountains, one of the most re-
markable pictures ever made.
No. 295-A 100 feet, 16mm.
EACH SUBJECT COMPLETE
PRICE EACH $350
Over 500 other films at same low price.
Catalog on request
HOLLYWOOD FILM
ENTERPRISES, INC.
6060 Sunset Blvd.
Hollywood, California
"And how close to you was he when
he fell?"'
"Perhaps five yards."
"But, Mr. Eastman, didn "t you real-
ize that your hunter might have
missed, his rifle might have jammed
or, even, that he might have fled?"
"Well," was George Eastman's final
comment, "you know, you have to
trust your organization."
This was not only Mr. Eastman's
particular brand of humor but it was
also exact fact, because he had de-
ferred that particular African trip un-
til he could get the services of just
that hunter, who was, he had de-
termined, the best in Africa.
The Eastman Kodak Company's ini-
tial contributions to amateur movies
were now commercially launched and
the public acceptance of them made
certain that the enterprise had been
wisely and successfully undertaken.
Mr. Eastman retired from the presi-
dency of the company in 1925. After
that, he made the gradual "fadeout" he
planned. Even in retirement, he was
an enthusiastic user of the new Cine-
Kodak equipment and improved film.
Watching the progress of the move-
ment was one of his greatest pleasures
in his last years. Kodacolor especially
thrilled him with pride in the organiza-
tion he had built up to perpetuate his
original mission of giving greater op-
portunities and greater convenience to
amateur photographers.
The writer can testify to the deep in-
terest that George Eastman had in ama-
teur movies from the noncommercial
viewpoint. In 1929, at his home in
Rochester, Mr. Eastman made definite
and particular inquiries about the
Amateur Cinema League, of which he
had been, from the very first, a sus-
taining member. These were not the
casual inquiries of a genial host but
were based upon a surprising informa-
tion as to what the League had done
and was doing. On January 20th of
the present year, he wrote,
"I accept and appreciate the
honor of being made an Honorary
Life Member of the Amateur
Cinema League. The League is
doing a good work and I have
been glad to be a supporter of it.
Cordial greetings to you and all
members of the League."
Not quite two months later he had
reached the end. It is quite clear that
his interest in amateur movies persisted
with Mr. Eastman until the very last.
In 1928, the Editor of Movie Makers
visited Mr. Eastman in Rochester and
saw Kodacolor pictures that Mr. East-
man projected for him in his private
theater in the attic of his home. Later,
Mr. Eastman personally went over the
proofs of a Movie Makers article which
Mr. Carrigan wrote. His interest in the
amateur movie maker's own organiza-
tion was active and continuous and the
files of the League contain a series of
letters from him on various subjects.
Children of a man's later years are
said to awaken an unusual amount of
his emotion and personal solicitude.
This was true of George Eastman and
amateur filming. While Mr. Eastman
said of himself that sentiment had ap-
parently been omitted from his make-
up and while his exceedingly retiring
personality made it imposible for him
Eastman Kodak Co.
Mr. Eastman explaining the
workings of Kodacolor to
his friend, Thomas Edison
to take even the momentary limelight
of an emotional expression, this later
child of his organization's perfecting
and making available did have his per-
sonal solicitude. He watched it with
that peculiar combination of intense
interest and almost stoical lack of ex-
pression that so marked the man.
George Eastman was personally con-
cerned with the early project of making
amateur movies available to everyone
on a practical basis and he followed,
with specific attention and definite per-
sonal action, the realization of this pro-
ject. He watched the progress of per-
sonal filming right up to that decisive
moment when he felt that the time had
come for him to "go out into that waste
we know not, into the night." Speak-
ing of his death, L. B. Jones says, "To
those who knew the orderly working
of his mind, his passion for being use-
ful— always useful — his dread of an ill-
ness that might make him mentally, as
well as physically, inactive, his act can
be understood. A great man. At the
end of the chapter, he wrote his own
•finis.' "
Dr. Ki
cal
t. isinema pays a
[Continued from page 198]
parent organization in Europe. One of
their travelers was able to identify it by
the letter on the filter as one of a set of
three standard densities. From his ref-
erence to the color of his filter. I take
it he has the middle one of the three
and shall advise him accordingly, send-
ing him our Filter chart for reference."
MOVIE MAKERS
217
"But, surely, he could have found all
this out more easily over there."
"Perhaps he considered the League
service more convenient. As a matter
of fact, Doctor, I get a surprising num-
ber of inquiries, the answers to which
are many times right there under the
inquirers' very noses — questions as to
prices which are listed fully in manu-
facturers' catalogs, questions as to the
simple handling or adjustment of some
part of the apparatus which are fully
answered and illustrated in careful de-
tail in camera or projector instruction
books."
"I'd rather read a friendly, personal
letter of instruction than search
through a cold, concise book of direc-
tions," said the Doctor, his glasses
twinkling.
"Thank you." But the technical con-
sultant was intent on his theme. "Now,
here's another example of the kind of
thing that prevents me from helping
members fully." He drew forth a yel-
low slip, the familiar League consulta-
tion blank. On it was written, "I would
like information or service on the fol-
lowing: Exposure needed with three
500 watt lights, not in reflectors." Now,
Doctor, I want to help this member as
much as I can, but he hasn't said a
word about the nature of the subject
he's shooting, its surroundings, how
much area he wishes to cover with his
lights, what lens he has available or
whether he wants to use regular pan or
superspeed film. What am I to do?
Either I must guess his specific prob-
lem or else give him an entire listing of
possible conditions with directions for
each. This I am perfectly willing to do
but it is evident that, in spreading the
letter out over so large a field, his own.
unstated problem must occupy only a
small portion of it. He will see the
point later, no doubt, but only after
extra correspondence and delay are in-
volved. Here's another. Says he wants
to make shadow pictures. But what
kind? Large or small? And with what
lights or equipment."
"My boy," said the Doctor, placing
his finger tips together ministerially,
"if we but knew how to ask the right
questions, all our problems in life would
be solved. I can remember my own be-
ginning days, though they are much
farther away than yours. Didn't you
ever ask anyone any question without
supplying the entire background?"
The Doctor's quizzical gaze, directed
over the top of his glasses, gave the
technical consultant pause. He tried
to think of his own movie salad days
but failed. He concluded he must have
been born with a camera in his hand
but could not help admitting there was
some justice in the good Doctor's de-
fense. Surprisingly enough, though,
the Doctor himself had now found
something that he wished to criticize.
Kino-PLflsmflT
for Color
Licensed for Kodacolor by Eastman
Kodak Co. under U. S. Patents
Nos. 1,685,600 and 1,688,370.
Spring with its colorful beauty of field
and forest, sky and moor — with its deli-
cate tintings of cherry, apple blossom
and lilac, is the ideal season for color
work. . . . Calculated by Dr. Paul Ru-
dolph, the world's foremost authority
on photo optics, the Kino-Plasmat has
The excellence of the Kino- achieved an ultimate present day perfec-
Plasmat, however, is not ...
confined to color, in black tion m its correction for the primary col-
and white photography, it
has enormous speed and ors 0f the spectrum and is the ideal lens
enables superb results un-
der all sorts of light con- r ,1 _ , • r I • 1
ditions. At //i.s-at smaii- ±or the perpetuation of beauty in color.
est stop — the universal lens. _ , _
Lens only $6o Complete with Kodacolor filters, $75.
Catalog on Hugo Meyer Lenses on request.
Hugo Meyer Lenses Are Standard Equipment on Victor Turret Cameras
Hug© MEycc «»<* Cc.
245 West 55th St.
New York
Works: Goerlitz, Germany
218
MAY 1932
WRITE NOW
FOR OUR LATEST
BARGAIN BOOK
From cover to cover, it is loaded with
real "buys" in foreign and domestic,
still and movie cameras as well as ac-
cessories of every description. Optical
goods also included.
EVERY ITEM A GENUINE BARGAIN
SOLD ON TEN DAYS' TRIAL
MONEY REFUNDED IF NOT
SATISFIED
WRITE TODAY
CENTRAL CAMERA CO.
Dept. MM-5F, 230 S. Wabash Ave.
Chicago, III.
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
.Memories of the
WORLD WAR
Invite your friends on Memorial
Day. Relive the memories of
Chateau Thierry, St. Mihiel and
the Argonne. Project vivid sub-
marine pictures — Zeppelin raids
over London — many other au-
thentic reels.
$4.50 for 16mm., 100 ft. reel— $4.50
Send for descriptive literature.
EMPIRE SAFETY FILM CO., INC.
723 Seventh Ave. New York
©
TITLES
t tTj — ' Complete editing and titling
lYESTCRBAYt service. (16 mm. or stand-
ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendale 0011
DETROIT, MICH.
COMPLETE
with
PHOTOFLOOD BULB
.50
Excellent results
at a fraction of
former cost.
Northeast Products
Company
Tewksbury, Mass.
"What I don't like," said he, rather
testily, "is this worthy member's calm
statement that he will not use reflectors.
I can't imagine such a thing. Why, if
he hasn't some kind of commercial re-
flector, such as sold with these lamps,
he could at least wire or tie a piece of
white cardboard halfway around each
one so as to turn a lot of the light back
on the subject that would otherwise go
to waste!"
"Righto, Doctor, to say nothing of
lessening the danger of flare in the lens
and I shall tell him so. There is seldom
an excuse for not using some sort of
reflector unless one must shoot a sub-
ject on the instant with no preparation
beforehand."
"And that is bad practice anyway,
only to be followed in extremis" fin-
ished the Doctor, rounding off the sub-
ject with one of his professional pe-
riods. "But let me see some more of
those things. What's that big, double
white sheet? An income tax blank?"
"Goodness, no," said "Tech," hand-
ing over the document in question, "but
most of these were filled out with just
as much attention to detail. It's one of
our Questionnaires. We get as many
questions from them as we do answers;
we answer their questions and tabulate
the answers to ours, collecting a lot of
interesting facts. Look at this one. It's
from a lady."
"Bless her heart!" said Doctor Kin-
ema, with his old fashioned gallantry,
"What has she to say?" He adjusted
his glasses and read, "Remarks: My
movie apparatus seems so complicated
that I am afraid to take pictures ; I fear
I shall do something wrong."
"Poor thing," sympathized the Doc-
tor, "I know, I know." He gazed out
of the window, remembering, no doubt,
some deep experience.
"I told her," said the consultant,
briskly, "to put aside her fear and gave
her the two beginners' precautions — to
hold the camera still and not to film
too short a scene. Added to this was an
injunction not to shoot into the sun
which, with a firm but kindly talk on
the importance of focusing and ex-
posure, will get her by all right. I also
sent her Exposure in essence.
"Eh?" said the Doctor, emerging
from his reverie, "Essence?"
"Exactly. Our technical bulletin on
exposure, you know. One reading
guarantees understanding of the sub-
ject; two readings will produce good
results on the screen. Of course, we
recommend the use of a good exposure
meter, too. Now here," and "Tech"
swiveled around in his chair, "is an-
other interesting service blank; this
one, if you please, is from South Africa.
It says: "How can I get the best results
in mine pictures?"
Doctor Kinema's voice came more
faintly and a bit puzzled, "Isn't there a
little grammatical error in there?"
"Oh, no, Doctor, our members are
always grammatical. He means mine
pictures, diamond mines, don't you
see?" And he swiveled around again
to show his visitor the blank. But Doc-
tor Kinema had disappeared in the
same mysterious way he had arrived. It
would almost seem as if he had retired
in dignified protest against this last
misunderstanding. Or, perhaps, he was
due at the Newark airport and the late-
ness of the hour had urged this un-
ceremonious exit. At all events, there
was the chair he had occupied; "Tech"
eyed it for a moment, then turned back
to his pile of letters. Somehow, he felt
rested and refreshed.
The time element
and cine planning
[Continued from page 199]
background looking greedily at the cake.
He springs out and points a deadly pis-
tol but Lord Harry, with a deft motion,
knocks "the engine of destruction" from
his hands by means of his toy sword.
The ladies are at first affrighted but
then pity the bold robber and the party
ends by asking him to share the cake.
Where it is desirable to include por-
traits of several children in one film,
this last suggested incident will serve.
The amateur has now developed his
climax to an extent sufficient to justify
several shots of Bobby and Grandma
and he has proceeded to the point where
the time element has brought the motion
into full play and to the end of the
climax. All he has now to do is to plan
his future action and proceed to wind
up the story. How is this to be done?
Bobby may fall asleep at the end of the
story or he may become mildly excited.
Bobby's parents might now be asked to
walk into the film and a scene of their
coming to join Grandma and Bobby will
afford a graceful ending. Or, perhaps,
the simplicity of making interior movies
with the new fast film and inexpensive
lights will have suggested carrying out
the story telling incident indoors. In
this case, Bobby could be in his sleeping
suit and, when you wish to end the film,
the story being over, it might be done
effectively with a fadeout of him kneel-
ing beside his bed at goodnight prayers.
No advice to the amateur can suggest
a scenario wherein it is possible to leave
out the element of time in the action
he wishes to take, whether his subject
to be is a Portrait Of Madonna And
Child, Sunset or A Fishing Expedition.
When confused as to how to proceed in
developing a chosen theme, the amateur
should think of the time element and
its subdivisions. It will of itself suggest
continuities and transitions to and from
the main action which probably would
not occur to him without this approach.
MOVIE MAKERS
Seasoning for
seasonal sports
[Continued from page 201]
must be filmed late in the after-
noon and it is, therefore, possible
to make many effective silhouette
shots in addition to the regular routine
of placing the shells in the water and
starting out. In filming this subject, it
is wise to give particular attention to
covering the start smoothly and in de-
tail. Get enough angle shots of the
shell being lowered into the water, the
men taking their places, and so on, to
provide material that, by proper cut-
ting, will give connected action. To
follow the action on the water, running
shots from a launch are necessary.
Start with a wide angle shot, made
from the side, including all of the crews
in action. Then, from the side, make a
slow panorama of the shells, moving
the camera from bow to stern. Next
make closeups of the coxswains and
shots of the crews from behind. Then,
if possible, follow with a shot made
from the launch as it moves up from
behind the crews, out to the side and
then ahead. Take some closeups of one
man on the sliding seat and pulling at
the oar. These can be made at the
dock before the shells are out in the
stream. Such closeups can be spliced
into the running shots with excellent
effect. Long shots from the bridges
with the camera trained directly down
on the crews in action provide another
variation. Well composed shots from
the shore should be planned and spliced
in to dress up the action.
It is difficult to stage track and field
sports and fortunately it is not neces-
sary to do so in order to get continuity,
especially if the movie maker is not
confined to the grandstand. For
example, a sequence of pole vaulting
could be opened with a full figure view
of the athlete gripping the pole and
ready for the run. Then could come a
long shot made from the landing side
of the jump and showing the athlete
running toward the camera, lifting
over the bar and dropping to the
ground again. This scene should be
made with the camera about two feet
above the ground so that, as the athlete
clears the bar, his body will be out-
lined against the sky. A shot from
the same angle made with slow motion
is extremely effective.
In filming the high jump, make
scenes from similar angles in both slow
motion and normal speed. In this case,
the camera should be close enough so
that the body of the jumper just about
fills the screen at the finish of the jump.
The angle of the slow motion shot
should be such that the view includes
the jumper running toward the camera
(seen under the bar), the spring over
219
YOUR LIVING ROOM A
PERFECT LITTLE THEATRE
♦ ♦ at surprisingly
little cost J
EVERY home can now have its Little Theatre
—because HIGH PRICE, that chief ob-
stacle to owning a quality movie camera and
projector, has been removed by Keystone.
Keystone cameras and projectors, embodying
the latest improvements and refinements, give
perfect results.
Your first glow of pride in your Keystone will
ripen into enduring satisfaction as you, your
family and friends enjoy the brilliant per-
formances.
KEYSTONE
Movie i6MM. Camera
SPECIFICATIONS: 100 ft. capacity; weighs only
3 3-4 pounds; spring motor driven; //3.5 Ilex dia-
phragm lens; interchangeable lens mount; audible
footage signal; monocular viewfinder; film footage
register — and other Keystone features make it an
outstanding value.
KEYSTONE
Keystone B-63
model projector has
100 watt lamp — mo-
tor driven (direct
or alternating cur-
rent)— good quality
lens — simple
threading — high
speed rewinding —
easily portable.
$
31
.25
$35
with //1.5 lens $67.50
PROJECTORS
Keystone A-74
model, as illustrat-
ed, has 200 watt
lamp — ventilation
fan — motor driven
(direct or alternat-
ing current) — 2 in.
focal length double
achromatic I e n s —
simple threading —
high speed rewind-
ing.
$
50
.00
BEADED SCREENS AS LOW AS $3.50
Bring the Distance Close to You
WITH THE WORLD FAMOUS
DALLMEYERTekphotoLens
With a Dallmeyer telephoto lens fitted to your Keystone camera,
you get unusually clear, sharp CLOSEUPS of distant subjects.
Indispensable at all sporting events. Send for complete catalog.
HERBERT & HUESGEN Co.
I 8 EAST 42d ST. Between Grand Central & Fifth At
NEW YORK CITY
220
MAY 1932
HE FIRST
COMPLETE SERVICE
Motion pictures made and projected at
any time — and on time. Expert op-
erators. Individualized service.
We make pictures of
Industrial subjects
Weddings
Parties
Camps
The family
We project at
Offices
Churches
Conventions
Lectures
Entertain-
ments
NEIL P. HORNE
1425 Broadway New York City
PEnn 6 — 2634 Telephones PEnn 6 — 7747
Stationery, Cards, Bookplates,
* advertising, greeting cards etc..
Easy rules furnished. Complete
Outfits J8. 86 up. Job Presses $11 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
catalog and all details. The Kelsey
Company. W-48. Meriden, Conn.
HIGHEST PRICES PAID
FOR YOUR CAMERA WORK
We want 35mm. human interest, travel and other
unusual shots for a series of featurettes soon tn
be released. Send us a list of your 35mm. sub-
jects you now have on hand with a full descrip-
tion of each subject. The price offered will depend
on the quality and novelty of the footage sub-
mited.
If you have a 35mm. camera, we will be glad
to cooperate by arranging for reduced prices
on negative and on laboratory work. We will
furnish you with 35mm. negative at the
very low cost of $3.00 per 100 foot roll.
When your picture is completed, we will
develop the subject free. If a print is de-
sired, it will be furnished at the low figure
of 4c per foot.
Send us a list of your subjects immediately.
CONTINENTAL - PICTURES
1611 COSMO STREET, HOLLYWOOD, Calif.
16mm. TITLES
Send 25c for special sample of our work, "Pho-
tography by ," your name in blank
space.
j. C. HAILE&SONS
Motion Picture Dept.
215 WALNUT ST. CINCINNATI, 0.
the bar and the landing just in front
of the camera. Some jumpers start
from the right and some from the left
which automatically provides variation
in angle. Javelin throwing, discus
hurling, the shot put and the hammer
throw are all effective in slow motion.
The camera should be far enough
away from the subject to include all of
UitltYourOwn L.1'
\ PpFilm Titles Pfcs--
PHOTOGRAPHERS,
EARN REAL MONEY
Prepare NOW for a well-paid position or
business of your own. Unlimited opportuni-
ties. Fascinating work. FREE BOOK tells
how you can quickly qualify as
□ Motion Picture Cameraman and Projec-
tionist
□ Still Photographer and Photo-Finisher
State which interests you. Write today.
New York Institute of Photography
0 W. 33rd St. (Dept. 105) New York, N. Y.
DON'T SWAP
HORSES IN
= MID STREAMS
EXCHANGE YOUR FILM AT
NAVILIO'S
where courteous treatment and quick service
are assured. Just send your old films plus
$1.50 and return postage for one of the many
interesting subjects available.
NAVILIO FILM RENTAL LIBRARY
To Members
5 to 9 reel feature $1.50 a day
Send for membership blank
Dealers: Write for interesting offer
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN NY.
Iv^lS
B! ■
wi?^^2-i
J. V. D. Bucher
Nothing is so effective
as film in demonstrating
proper methods of play
the action. Closeups of each of the
men might be made during the trials
and spliced in with the appropriate
slow motion studies.
In making sequences of foot races,
always start with near shots of the line-
up, the men digging in and the starter
firing the gun. Follow shots from the
side, especially slow motion scenes of
the hurdles, are effective. If there are
several heats of each class of race, it is
possible to make medium shots of the
finish of a different heat, splicing it to
the scenes of the start of the other race
and thus "faking" a sequence of a com-
plete event.
Tricking it up
[Continued from page 200]
the beach with a silk hat and everything.
By the time he has reached the water,
he is in his bathing suit. It is easy to do
if you have some person who will re-
member just where each stop was made
and as nearly as possible the exact pose.
Each stop means one garment less. An-
other idea along the same lines is to
have someone jump through a large
paper hoop. Before he jumps he is
dressed one way. Going through the
hoop changes his clothes. Or a man can
jump into the hoop and a girl come out
the other side. Stand in front of the hoop
and in line with it. Shoot two jumps.
The rest is merely a matter of care-
fully cutting the two scenes together.
Use the tripod for all this sort of trick
work and allow yourself sufficient lati-
tude on the ends to make a proper
match. Nothing is more irritating than
to find you are two or three inches
short of having enough to make a per-
fect match. That is not saving film.
It's a waste.
This only scratches the surface of
the stop camera idea but it may suggest
other things. Perhaps you start a chase
with one man in pursuit. Suddenly
there are two, then three and so on un-
til you have a crowd. If they are all po-
licemen, so much the better. Reversing
this idea and having a mob gradually
reduce to one is good for another laugh.
Work for variety. You can use the
stop camera technique to have the man
jump over a freight train. If you are
where the supply of freight trains is
limited, use a trolley car or an auto.
Shoot the jump on one side and the
landing on the other. Persistence of
vision will do the rest.
But, whatever you do, work for the
unexpected and, like a successful ma-
gician, do not repeat a trick. It is al-
ways possible to invent a new twist for
the encore. Use the good old brain in-
stead of the first thing of which you
happen to think. For example, sup-
pose your comedy hero is a bit under
the weather. He looks at a goldfish
globe. Part of the time there are fish
swimming around and part of the time
there are not. Make two lengths of film
and splice in. You can figure fifty more
if you think long enough. This is merely
to start you thinking.
"Super" and filters
[Continued from page 203]
daylight varies in its color content.
This is particularly true with respect
to the percentage of blue. In propor-
tion to the strength of the green and
red, the blue often decreases as much
as fifty percent in late afternoon. Then,
very good color correction will be
obtained on the new film without the
use of a filter. If it is desired to use a
filter, only a very light yellow need be
used to obtain all the color correction
desired. The speed of the regular "pan"
film will be more affected by the low
blue content in the afternoon sunlight
than that of the new fast film because
a high proportion of the sensitivity of
the regular "pan" is found in the blue.
As a rule, with the new panchromatic
film, the lighter filters will be found to
be the best for average work and will
give sufficient correction faithfully to
bring out all of the tones of the original
subject in their proper relationship. Re-
member that it is easy to overcorrect
the fast film and. if films have the
MOVIE MAKERS
appearance of being made in a storm
or at night, the filters are too deep and
filters having a lower factor should be
substituted.
A number of articles have appeared
in these pages on the subject of filters
and color sensitivity and it is worth
while reviewing them. The cinema-
tographer should be thoroughly ac-
quainted with this phase of work so that
he knows when to use a filter, what filter
to use and what the effect will be.
The clinic
[Continued from page 202]
stages (made by adding short exten-
sions to the lines between each picture) .
As each part appears, it is designated
by the proper caption. Each of these
captions disappears after remaining
long enough to be read and the part
located. After the outline is completed,
all the important glands appear, one
after another. The entire picture was
made by photographing an image made
with white chalk on an ordinary black-
board.— Alexander Stuler, A.C.L.
221
itframati$ed
Alexander Stuler
Section of the animated
anatomical film made with
a blackboard and chalk
Obituary I ^ *s with a deep sense of
loss that the Amateur
Cinema League mourns the recent
death of William H. Dodge of Detroit,
one of its prominent and active mem-
bers and a frequent contributor to
Movie Makers.
Technical Bulletin ■ Tips On
Titling, the
latest printed bulletin of the Amateur
Cinema League, issued by the technical
department, is now ready and available
for distribution to League members
only. The new bulletin, Tech. No. 5,
carries complete information on title
making, including direct positive titles,
Now Ready for Production
FEATURES
(400 foot)
1. MY FAMILY
Enables you to make a
real photoplay using the
film you have already
made of your family.
Cast: two men.
2. SPIRIT OF COCKEYE
COLLEGE
A collegiate farce for a
large group or club of
young people.
Cast: five boys, one girl,
with group or club mem-
bers as extras.
3. WHEN THE REX GANG
RODE
A story for children, a
doll and a dog.
Cast: two boys, a girl,
and extras ad lib.
4. ONE GOOD DEED
A Boy Scout drama illus-
trating first aid and res-
cue work.
Cast: two boys, a man, a
dog, and a troop or rjatrol
as extras.
5. WILD WEST
A cowboy and Indian
story for older children.
Can be made in any back
yard.
Cast: two boys, a girl, a
woman, several children
as extras.
6. THE CASTAWAY
A burlesque South Sea
Island story for grown-
ups or children.
Cast: six men and two
women.
7. SYMBOLS
A story told in cinematic
symbolism. For advanced
workers or clubs.
Cast: two men, a girl and
extras.
FEATURETTES
(100 foot)
1. WAGES OF SIN
To be made in the back-
yard.
Cast: three men and a
woman.
2. MME. FRAUD'S SEANCE
All interiors.
Cast: two men, a woman,
a girl, a boy and any
group.
3. REMINISCENCES
All exteriors.
Cast: two men, three wo-
men, and a baby.
Write for complete list.
Pictures made from these scenarios
are eligible for the American
Cinemafographer $1000.00
Amateur Movie Making Contest.
liMWMiVJHi!
Complete Scenarios
which enable you to make perfect photoplays
with your own group — family — friends — or
club. Every detail worked out with professional
accuracy by professional writers, directors and
cameramen.
You Direct and Photograph the Picture!
PRICES
400 foot features $15.00
100 foot featurettes 6.50
including story, scenario, scene slate and titles.
ART TITLES
Double exposed on art backgrounds, 50c per
title (ten words or less); additional words,
5c per word.
Single exposed titles, 30c per title (ten words
or less); additional words, 3c per word.
Prices for special styles, etc., on request.
EDITING
For pictures made from our scenarios $5.00
For all other editing $2.50 per hour
•
THE H. M. S. SCENE SLATE
For numbering scenes. A great help in editing
your pictures. Price, $1.00.
HOME MOVIE
SCENARIOS, Inc.
1220 Guaranty Building
Hollywood
California
Gentlemen: Enclosed please find money order for
$15.00, for which please send me postpaid the following
scenario, together with H.M.S. number slate and com-
plete set of art titles photographed on art backgrounds
ready to cut into finished picture.
Title of scenario
Name
Address
City & State
222
MAY 1932
NOW
Printed
Kodatitles
in six different
styles at
3c per word.
Write for
illustrated
circular.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
IDTEI^S
FvjSecms- BiffuxriF
cAsfe. youp dealer?, op typite r.o
GEORGE H. SGHEIBE
PHOTO-FILTER SPECIALIST
Outdoor Night Movies
Now Made Easy
Exquisite night effects at garden
fetes — beach parties and camp-
fires — unbelievably beautiful
and realistic — are achieved with
"Newmanlite" Flares — the fa-
vorite illuminant of explorers
and naturalists the world over.
If you desire 100% effectivity,
ask for
" Newmanlite"
Flares
Booklet and prices on request.
I. C. NEWMAN CO., INC.
545 Fifth Ave.
New York City
trick title work, color titles, use of back-
grounds, centering, illumination and
many other interesting points involved
in this fascinating phase of amateur
cinematography. League members de-
siring this bulletin should address the
technical department.
Asked and answered ^Question:
Howdo
the factors of ordinary filters vary when
used with the new supersensitive film?
Answer: In general, the factor of a
yellow or red filter becomes less under
this condition. The ordinary 2X and
21/£X filters need practically no correc-
tion at all; the diaphragm opening may
be increased one half stop over normal
when using the 3X filter, if desired,
and one full stop when using the 4X
filter. The red "A" filter has a revised
factor of 5X with supersensitive.
Question: What is the highest speed
it is possible to obtain in order to get
slow motion effects? Answer: One
manufacturer makes a 16mm. camera
specially arranged for 128 frames per
second. This is the only speed avail-
able in this model. It is, of course, pos-
sible to have a camera specially built
for higher film speed than this, though
it would be hardly necessary for any
purpose except scientific research.
Question: I understand ultraviolet
light affects emulsion very strongly.
Why is this fact seldom taken into
account when considering exposure?
Answer: It is true that ultraviolet
light is very actinic. Sunlight is rich in
ultraviolet and, although it is invisible
to the eye, this light would affect the
film strongly but for one thing — glass
is practically opaque to it. Therefore,
since the lens is made of glass and
offers the only means of ingress to the
light which affects the film, most of
the ultraviolet is filtered out. Quartz
will transmit ultraviolet and a lens
made of this material would greatly
shorten the time of exposure. However,
from such a lens, it would be next to
impossible to get a sharp, clearly de-
fined, small image that would be suit-
able for screen magnification. The
Kalostat lens, made for still pictures, is
of quartz composition and produces a
pleasing softness for portraiture.
On the necessity
of "letting go"
[Continued from page 204]
analytical ability is less prized and snap
judgments are more common than in
the movies. All that the professional di-
rectors consider is whether a certain
actor is "the type" for a certain part
and, if they so often seem right, it is
largely because they have substituted,
for most real life types, certain artifi-
cial stereotypes which the public has
come to accept as true, even though they
are palpably false — such as the little
white haired woman with a shawl who
typifies or, rather, stereotypifies Mother.
One wonders whether any movie man
ever had a mother.
In casting an amateur movie or in
helping the artists qualify for the parts
allotted to them, then, far less impor-
tance should be attached to real life
studies than to appearances of compli-
ance with stereotype. A man with a
noble brow and a sympathetic eye, who
has observed the mechanism of a sur-
geon's life, will usually make a better
screen surgeon than the most highly
skilled specialist from the best hospital
in the land. If the real surgeon has to
play that part, endless tact will be re-
quired to make him realize that he
knows nothing of how a surgeon should
look and act. He will naturally despise
the very idea of gloating over a patient
after a successful operation and, yet,
that is precisely what the audience ex-
pects of him. Knowing nothing of a
specialist's feelings and inhibitions, the
average person who watches him on the
screen feels highly elated when he saves
the hero's life in one of those masterful
trepannings such as only the drama
knows and, as Mr. Average Man would
promptly turn round and shout to the
nurses, "There! I have saved him!", so
he expects the doctor to do.
In one word, the savage in us is the
only good actor and it is up to the di-
rector to put his people through this
double process of suppressing their in-
hibitions and boosting their impulses,
until they act just as children would in
similar circumstances. It is because
good actors are always doing this in
real life that their lives are so full of
quarrels, divorces and jealousies. And
it is because sensible people find it so
difficult to behave that way, even for
make believe, that their acting is often
so flat and lacking in dramatic contrast.
Amateur clubs
[Continued from page 206]
wild life motion pictures by D. A.
Campbell, A.C.L., a talk on recent de-
velopments in the cine field by H. A.
Hart, a discussion and demonstration of
lights and lighting by Henry Herman
and the projection of films from the
League's Club Library. The Chicago
Cinema Club is planning to take an ac-
tive part in the Century of Progress Ex-
position in Chicago in 1933.
Best fifty feet ■ A talk on compo-
sition by P. Doug-
las Anderson was the feature of a recent
meeting of the Cinema Club of San
Francisco which was concluded with
MOVIE MAKERS
the projection of members' films. The
club is holding a contest for the best
fifty feet of film submitted. There are
no restrictions on subject matter but no
entry may be more than fifty feet long,
exclusive of titles. A contest for the
selection of an official club leader is
also planned. For the convenience of
members with special interests, the
San Francisco Club has been divided
into sections holding separate meetings
in addition to the regular general pro-
grams. The sections are: 9.5mm., of
which V. G. Skinner, A.C.L., is tem-
porary chairman; technical, with Tru-
man Bailey serving as temporary chair-
man ; dramatic, with Gordon Mitchie as
temporary chairman; scientific, with
Dr. L. H. Garland, A.C.L., as tempo-
rary chairman.
In England ■ A movie club has
been formed at Wim-
bledon under the leadership of C. H.
Bealby and it is hoped to form one
at Teddington shortly, writes Ber-
nard H. Hill. ■Bournemouth's first ama-
teur photoplay was recently screened
for the local public. The story by Carol
Hyde was filmed by James H. Grime
and Robert 0. Torrens. Featured in the
cast were Vera Maskey, Norman Cole,
Rachel Terry and Alec Buckmaster.
Greenwich H An appreciative audi-
ence greeted the
premiere screening of The Floating Hat,
first production of Crusader Pictures,
amateur unit in Greenwich, Conn. In
the cast of the picture, which runs 800
ft., 16mm., are Dorothy Swinburne,
Roger Tugby, John Edwards, Tilden
Southack, Jane Weadock, Louis Tubby,
Clyde Jones, Nancy Bogue, George E.
Fisher, A.C.L., Charles Dyer and Ewing
Morell. Officers of the club for this
year are John S. Edwards, president;
Tilden W. Southack, treasurer; George
E. Fisher, secretary; George Aiken,
Katharine Armes and Louis Tubby, di-
rectors. Plans have been made by the
club to screen The Floating Hat for the
benefit of the unemployed. This is a
praiseworthy amateur movie club ac-
tivity and other clubs might well emu-
late Crusader Pictures.
Springfield ■ A recent program of
the Cinema Club of
Springfield, 111., featured the projection
of Kodacolor pictures by O. R. Sweet,
A. C. L., topical films by Dr. A. C. Bax-
ter, A. C. L., and Alaskan travel pic-
tures by Mr. and Mrs. Claude Barr.
In charge of the program were Dr. John
R. Neal, Lewis Hey, Harry Ide, A.C.L.,
and William Patton.
Brooklyn ■ Projection features of a
recent meeting of the
Motion Picture Club of Brooklyn, N. Y.,
were The Eyes Of Science, Kodacolor
films by Edward H. Marsh, A. C. L.,
lit
microscopic movies by R. Roy Susdorff,
Under The Canvas and African Shrieks
by Robert M. Coles, A. C. L. A critic
was appointed to lead discussion after
each picture was screened.
Joint meeting ■ Members of the
Cinemat Club of
Mt. Kisco, N. Y., were guests at a re-
cent meeting of the Cinema Club of
Larchmont, N. Y. Included in the joint
program was the projection of topical
films made by members of both clubs
and The Eyes Of Science. A commit-
tee of members of the Larchmont club
has begun production of a photoplay
to be called, The Magnificent Marriage
Muddle. The script was written by
Douglas Smith. Jack Beirn is direct-
ing and Peggy Miller and B. A. Lundy,
A. C. L., are playing the leading roles.
Members of the Larchmont club have
also been guests at a recent meeting of
the Metropolitan Motion Picture Club
in New York. They have found the
exchange of visits among clubs to be as
valuable as interclub contests.
Kansas City ■ 0ver thirty five at"
tended the last meet-
ing of the newly organized Cinema
League of Kansas City, Mo., reports
R. Brotemarkle. Moon Movies, from
the League's Club Library, and mem-
bers' films were screened. At an ear-
lier meeting, Kodacolor scenics of New
Mexico by Kathrine Harvey and A
Study Of Flowers In Kodacolor by Mrs.
J. J. Connor, A. C. L., were projected.
On the organization committee are H.
B. Hutchings, Wallace 0. Kelley, Ed-
mund M. Field, Fred Roberts, Dr. D.
L. Meyers and E. M. Critchfield, A. C. L.
Lighting ■ At a recent meeting of
the Cinemat Club of Mt.
Kisco, N. Y., Russell C. Holslag, tech-
nical consultant of the League, gave a
demonstration of interior lighting. Test
films were exposed by Kenneth V.
Bloomer, A. C. L., and Gordon Gorham.
A projection of The Eyes Of Science
was included on the program.
Milwaukee ■ The recently organ-
ized amateur movie
club in Milwaukee, Wis., held a light-
ing demonstration at its last meeting.
Expert technicians arranged various
lighting setups and the members photo-
graphed the scenes. Great enthusiasm
greeted the club's organization.
Bridgeport ■ Projection of Fly,
Loiu Jack And The
Game and Kodacolor films by James
Brown were the features of a recent
meeting of the Amateur Cinema Club
of Bridgeport, Conn. A club leader
is being prepared by two club members.
The leader will consist of a spinning
movie reel which slows down to re-
veal the name of the club lettered
GOERZ
CINE
KINO-HYPAR
It should be welcome news to
movie makers contemplating the
purchase of a wide angle lens
that a drastic price reduction
has been effected in the Kino-
Hypar f/2.7. Formerly sold at
$57, its present price is $45.
This includes finder lens when
required. Its speed and unusual-
ly fine corrections ideally adapt
this lens for all purposes of
interior, sport and panoramic
photography.
Goerz Effect and Title Device, en-
abling the amateur to create pro-
fessionally artistic titles and a va-
riety of effects, has been reduced
from $172 to $150. It is suggest-
ed to the camera club as the ideal
purchase for the general use of all
its members.
Literature on request.
tP.GOERZ AMERICAN OPTICALCp
317 EAST 34™ ST. NEW YORK CITY
For the First Time
• • c
Tony Sarg's Almanac
AMMATED SILHOUETTES
ON 100 FOOT REELS
By arrangement with the world famous Tony Sarg,
we are now able tj offer these original and amusing
stories on 16 mm. film. Each reel is a complete
story.
Also Westerns and Comedies
For sale at all dealers.
APEX FILMS, Inc.
105 WEST 40th STREET
NEW YORK
DEALERS: WRITE FOR CATALOG.
Are Your Films
Dumb and Disorderly?
Do they tell their own story or must
you continually explain what they're
all about?
The screen's greatest masterpiece
was only a meaningless mass of un-
related film at the first run-off! Ex-
pert editing and titling made it what
it is today.
We offer ten years of professional ex-
perience to 16mm. movie makers in
the amateur, industrial, publicity and
professional fields!
Your request for our literature and
samples imposes no obligation!
PARAMOUNT
EDITING and TITLING
BUREAU
1266 Boylston St., Boston, Mass.
Professional service for the amateur
224
MAY 1932
against it and then starts spinning
again. A city film is being planned,
each member participating in the prep-
aration of the scenario. The club will
welcome inquiries on membership.
In France ■ Among the offerings on
a recent program of the
Club des Amateurs Cineastes en France
were Colonial Exhibition and Vacation
At Chamonix, filmed by Paul and
Jacques Lemare; Hazard by Pierre
Boyer; The Paris Of Tourists by M. L.
Lowy, A. C. L.; Les Mysteres de Madon-
ville, by Charles Aubry. Paul Lemare
is president; S. T. Shaw, Jr., A. C. L.,
vice president; Martin L. Lowy, secre-
tary treasurer; G. Gronostayski, tech-
nical adviser; Jacques Lemare, elec-
trician; P. Boyer, A. Monfred, A. C. L.,
and J. de Tourtier, members of the
governing committee.
Baltimore ■ The Motion Picture
Club, a newly organ-
ized production unit in Baltimore, Md.,
is filming Flowers Of Evil, based on
incidents in Baudelaire's Fleurs de Mai.
The picture is being photographed by
Maxwell Weinberg from a scenario
written by Herman G. Weinberg. Sam-
uel Pelovitz is director and J. H. Cohen,
technical director.
Fairy tale ■ ^n tne cast °f Hansel
And Gretel, an amateur
photoplay version of the fairy tale be-
ing produced by Edward Hayes, A. C. L.,
Orange, N. J., are Paul Hayes, Norma
Thornton, Sylvia Tamos, Elmer Rath-
bun, Rachel Caputo, Dorothy Marks
and Betty Marks. Permission to use
the Gingerbread Castle of the National
Biscuit Company has been obtained.
Two plots ■ The Crown Cinema Club
of Brooklyn, N. Y., has
completed a short story film, Necker's
Night, and is well under way with its
first longer production, tentatively titled,
Puppy Love. Milton H. Bernstein,
A. C. L., president of the club, is mak-
ing a scenic study of Brooklyn.
News of the industry
[Continued from page 207]
St., New York City, importer of the
Rolleiflex, the price of the new model
will remain the same as that of the old.
Two styles of film may be used, giving
six, nine or twelve exposures.
Cine-Kodak reverse ■ By means
of a slight
but well calculated alteration of certain
portions of the Cine-Kodak mechanism,
William J. Grace of 1222 Kirby Build-
ing, Dallas, Texas, has succeeded in
adapting this popular series of spring
driven cameras to back cranking by
means of which the amateur may make
for himself all sorts of lap dissolves,
double exposures and other stunts which
A Cine-Kodak
by Mr. Grace
winding f i Im
as altered
to facilitate
backwards
involve the backing up of the film with-
out removing it from the camera. Mr.
Grace's device does not affect the fun-
damental camera mechanism as it is a
rewind key placed on the camera cover
in such a way that it can be engaged
with the main sprocket. This key func-
tions only when desired and, by turning
it backward, the film may be backed up
in the camera frame by frame. To keep
the film on the feed spool taut at all
times, its shaft has been extended
through the side of camera and termi-
nates in a knurled knob which may be
turned by hand. The ratchet mechanism
of the camera produces an audible se-
ries of "clicks" when reversed by hand
and double exposures and lap dissolves
may thus be calculated accurately. The
additional parts are chrome plated to
match the finish of the camera and Mr.
Grace is prepared to install this feature
in any spring driven Cine-Kodak for $25.
BaSS buys ■ Having recently pur-
chased the entire pho-
tographic stock of W. W. Kimball &
Company, Chicago, the Bass Camera
Company, 179 West Madison Street
of that city, will offer these goods to
amateurs at attractive price reductions.
New Stewart- Warner product
is projector with 500
watt unit of illumination
Price lowered ■ Tne Goerz Effect
and Title Device,
enabling the amateur to create profes-
sional camera effects and artistic titles,
has been reduced from $172 to $150.
This apparatus can be adapted to any
16mm. camera and is particularly rec-
ommended to amateur movie clubs as
ideal equipment for adding the finish-
ing cinematic touches to amateur photo-
plays. A booklet describing the uses of
this instrument may be obtained by ad-
dressing the C. P. Goerz American Opti-
cal Co., 317 E. 34th St., New York City.
Bewi Junior ■ Amateurs familiar
with the operation of
the regular size Bewi light meter will be
interested to learn that the principal
features of this instrument have been
retained in the Bewi Junior, which has
been reduced in size to an overall length
of three inches and a diameter of a little
over one inch. The Junior model carries
a focusing eyepiece and an easily read
figure scale in a dark field and comes
complete in a leather case. This model
is especially intended for use with the
popular, miniature still cameras which
movie makers and all those interested
in photography find so valuable. The
instrument is featured by Willoughbys,
110 W. 32nd St., New York City.
Clark Salon ■ An attractive and
modern projection
room, wired for sound and offering con-
ditioned air the year round, has been
announced by the Clark Cine Service,
203 Professional Bldg., Detroit, Mich.
Reel Pack ■ A new, all metal humi-
dor case for six and
twelve 400 foot reels has been submit-
ted this month by the Fried Manufactur-
ing Company, 5151 West 65th Street,
Chicago. A very worthy product, fin-
ished in "cashbox" style with metal
handle and black, crackle finish, the
new Reel Pack provides a convenient
way to classify and store films. Space is
provided to hold each reel in its humi-
dor can and the box contains an addi-
tional humidor pad which may be used.
Lock and key are included.
Effect filters ■ Following the re-
newed interest in
"before the lens effects" with the ap-
proach of the outdoor season, George
H. Scheibe, photo filter specialist of
1327 W. 78th St., Los Angeles, Calif.,
writes that the use of his original, pro-
fessional type filters has been widely
extended among amateurs. Mr. Scheibe,
who states that he is the originator of
filters of this type, has prepared a com-
plete list which includes graduated fil-
ters in one and two tone styles, neutral
density graduated filters, diffusing
screens for soft focus effects, fog filters
and, also, a visual monotone filter.
MOVIE MAKERS
225
The new
Titler is
simpl icity
Victor Pocket
designed for
of operation
Kerst-B b H ■ Walter D. Kerst,
widely known in the
industry from his previous work with
the Amateur Cinema League, the QRS-
DeVry Corporation, etc.. is now asso-
ciated with the Bell & Howell Company
in its New York offices.
Tony Sarg 16mm. ■ TonySarg's
Almanac of
animated silhouettes is now offered on
16mm. film by the Apex Films, Inc.. 105
West 40th St., New York City.
Film lacquer ■ A novel application
of a product pri-
marily designed for another purpose is
found in the "Movietone Film Lacquer"
made by the Rosco Laboratories, 367
Hudson Avenue, Brooklyn, N. Y. This
is a varnish like fluid to be painted over
the sound track of professional film,
where a splice occurs, to prevent "bloop-
ing" or disturbance of the flow of sound,
but it has been found that this lacquer
makes an effective film coating when
applied evenly to the emulsion side of
16mm. film. One or two coats of this
material will render any film opaque,
for use as leader or trailer stock. The
film should be spliced before coating.
■MM
An artistic study of the
H. M. S. Matte Box, Home
Movie Scenarios product
CAPTURE the
Elusive Distance
with
HUGC MCyEC
Telephoto Lenses
For the closeup opportu-
nities afforded by sport — at
games — for the distant
scenic or architectural shot
— Hugo Meyer Telephoto
Lenses of the Tele-Megor
and Trioplan series are rec-
ommended for their critical
definition, their sharp per-
ception of details imper-
ceptible to the naked eye.
Furnished in micrometer
focusing mounts, they are
adapted for Victor, Filmo,
Cine-Ansco and Cine-Ko-
dak cameras-
Trioplan
f/2.9
2 inch focus. .$45
3 inch focus. . 55
4 inch focus. . 63
Tele-Megor
//4
3 inch focus. $58
4 inch focus. . 70
6 inch focus. . 95
9 inch focus. .150
Send for comprehensive catalog
Hugo Meyer Lenses are standard
equipment on Victor Turret Cameras.
Hugo Meyer & Co.
245 West 55th St. New York
Works: Goerlitz, Germany
for Professional Effects
H. M. S.
COMBINATION
Sunshade, Matte Box and Filter Holder
and Harrison H. M. S. Filter
Sets . . . Professional quality
2" square color and effect filters.
Obtain a wide variety of
special effects — such as
moonlight — night — fog —
diffusion — light and dark
iris, etc. This device is
for the first time available
in 16mm. work. Creates
effects as seen on profes-
sional screen.
The H.M.S. matte box fits any standard 16mm. camera, also Eyemo,
DeVry, etc. It is mounted directly on the lens and held in place with
set screws and special fittings, so that, while in use, it is held rigidly in
place, yet instantly detachable. It is important, in ordering, to inform
us as to the camera, lens equipment and lens mounts with which the
matte box is to be used.
Price $7.50
A small extra charge is made in cases where the matte box is to
be used with more than one lens or where it is to be fitted to
35mm., still cameras, or special lenses.
HOME MOVIE SCENARIOS, Inc.
1220 Guaranty Building
Hollywood, California
226
MAY 1932
Featured releases
for home and school
S This defartmenl is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examined by Movie Makers.
| Apex Films, Inc., N. Y. C. Twelve Tony Sarg
Almanac Animated Silhouettes in 100 foot
lengths, now available for the first time on
16mm., are offered together with a variety of
comedies and Westerns.
■ Bell & Howell Co., Chicago, 111. Recent
Filmo library releases of interest, each approxi-
mately 400 feet in length, include In And About
Cairo, a study of native life; Ancient Customs
of Egypt, depicting Egyptians with the habits
and occupations of their ancestors; Morocco.
The Mysterious, customs and occupations of the
people of Fez; Moorish Customs, curious blend-
ing of ancient and modern habits; Tunisian Ac-
tivities, a kaleidoscope of Eastern life; India,
India's quaint characters, occupations and as-
pects; The Garden Of The East, Japan's natu-
ral beauties, religious customs and arts; Korea
And Java, Life in the Far East; The Holy City,
a tale of Jerusalem with quotations from the
Bible; Vistas Of The Holy Land, places and
people of Palestine; Beyond The Horizon, the
cities, Sydney and Melbourne.
■ Eastman Kodak Co., Rochester, N. Y. The
Cinegrafhs offered by this library, including ad-
venture, natural history, animated model and
cartoon, World War, comedy, travel, sport and
general subjects, provide a wide range of splen-
did film fare. A new catalog is available.
| Empire Safety Film Co., N. Y. C Featur-
ing timely far eastern subjects, educational,
scenic and sport films are listed in the catalog
of this company available upon request.
■ H. C. Film Service, Detroit. Fast Flying,
100 feet, photographed at the national aircraft
show, contains real action in the air and on
the ground.
B Hollywood Film Enterprises, Inc., Holly-
wood. Scenic, comedy, cartoon, drama, sport and
educational films, in lengths from fifty to 2.000
feet, comprise this library's Cine Art subjects.
Both sound and silent films are available and
a complete catalog may be had upon request.
B Kodascope Libraries, N. Y. C. The Rotin'
Fool, featuring Will Rogers; Haunted Svooks,
with the inimitable Harold Lloyd; Smithy, with
Stan Laurel and James Finlayson; No Father To
Guide Him, with Charley Chase, are the offer-
ings of this library for May. Nearly 500 other
interesting subjects are available, a catalog of
which may be had upon request to any brancli
of this library, located in leading cities
throughout the U. S. and Canada.
B Portable Movie Equipment Co., N. Y. C.
George W ashington Bicentennial, in 100 foot
and 400 foot reels, is especially emphasized.
Sound and silent films are likewise offered.
B Reynolds, Ernest M., Cleveland, Ohio. Look
Out Mountain, a 100 ft., 16mm., trick motion
thriller of a railroad ride down this famous
Tennessee promontory, is a new offering. Fixy
Pictures, each twenty five feet in length, espe-
cially designed for children, are also available.
CiflC gallery ■ A permament exhibi-
tion which is to place
recognition of photographic art, both
still and in motion, on a par with paint-
ing, sculpture and other visible artistic
expression, is announced by the Julien
Levy Gallery, 602 Madison Ave., New
York City.
Service ■ JacK Rosenthal's General
Motion Picture Repair
Service of 630 Ninth Ave., New York
City, announces that it has taken over
the repair department of the QRS-De-
Vry Corporation in that city and will be
in a position to render sales and service
on the entire QRS-DeVry line.
Home talkies —
film versus disk
[Continued from page 205]
advantage that this method possesses
over the disk method is that both the
sound and action are on the film and,
consequently, there is less care and ef-
fort required in handling. Only one film
is required to carry both sound and pic-
ure records, and splices, if needed, may
be made with impunity, just as in silent
film. There will be a slight "jump" in
the sound, but synchronism between
picture and sound will be maintained.
There is no doubt that both sound on
disk and sound on film systems will be
constantly improved. As a form of en-
tertainment, in my opinion, the home
talkie has no equal. The field is so at-
tractive that many of the big producers
are releasing or contemplating releas-
ing their pictures on 16 as well as 35mm.
stock for both sound on disk and sound
on film. Several companies are also do-
ing extensive research work on 16mm.
sound recording apparatus and it is only
a question of time when this apparaus
will be available on the market so that
the amateur can make his own talkies!
Suffice to say, there is a great deal in
store for the home movie enthusiast.
Educational films
[Continued from page 209]
STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIRCULATION, ETC., REQUIRED BY THE ACT
OF CONGRESS OF AUGUST 24, 1912.
OF MOVIE MAKERS, published monthly at New York, N. Y., for April 1st, 1932.
State of New York.
County of New York, ss.
Before me, a notary in and for the State and county aforesaid, personally appeared J. B. Carrigan,
who, having been duly sworn according to law, deposes and says that he is the editor of MOVIE MAKERS
and that the following is, to the best of his knowledge and belief, a true statement of the ownership, man-
agement (and, if a daily paper, the circulation), etc., of the aforesaid publication for the date shown in the
above caption, required by the Act of August 24, 1912, embodied in section 411, Postal Laws and Regulations,
printed on the reverse side of this form, to wit:
1. That the names and addresses of the publisher, editor, managing editor, and business managers are:
Publisher, Amateur Cinema League, Inc., 105 West 40th Street, New York, N. Y. ; Editor, J. B. Carrigan,
105 West 40th Street, New York, N. Y. ; Managing Editor, none; Business Managers, none.
2. That the owner is: Amateur Cinema League, Inc., 105 West 40th Street, New York, N. Y. Mem-
bership corporation with no capital stock. President, Hiram Percy Maxim, P. O. Box 2102, Hartford, Conn. ;
Vice President. Stephen P. Toorhees, 101 Park Avenue, New York, N. Y. ; Treasurer, Arthur A. Hebert,
P. O. Box 2102, Hartford. Conn. ; Secretary and Managing Director, Roy W. Winton, 105 West 40th Street,
New York. N. Y.
3. That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent or
more of total amount of bonds, mortgages, or other securities are: None.
4. That the two paragraphs next above, giving the names of the owners, stockholders, and security hold-
ers, if any, contain not only the list of stockholders and security holders as they appear upon the books of
the company but also, in cases where the stockholder or security holder appears upon the books of the com-
pany as trustee or in any other fiduciary relation, the name of the person or corporation for whom such
trustee is acting, is given; also that the said two paragraphs contain statements embracing affiant's full
knowledge and belief as to the circumstances and conditions under which stockholders and security holders
who do not appear upon the books of the company as trustees, hold stock and security in a capacity other
than that of a bona fide owner; and this affiant has no reason to believe that any other person association
or corporation has any interest direct or indirect in the said stock, bonds, or other securities than as so
stated by him.
Sworn to and subscribed before me this 21st day of March, 1932. (Mv commission exnires March 30. 1932 )
WARREN B. SHELDON, Notary Public.
Agriculture ■ For use in education-
al and publicity work
and as department records, eight 200
foot, 16mm., agricultural films have
been produced by Henry R. Francis,
A.C.L., Supervising Nursery Inspector,
Division of Plant Pest Control, Massa-
chusetts Department of Agriculture.
Two more subjects, Cranberry Culture
and Japanese Beetle Control, are now
being planned. Titles of the films in use
are White Pine Blister Rust, European
Corn Borer, Nursery Sanitation And
Motor Cultivation, Forest Conservation,
Nursery Inspection And Pest Control,
Bugs And Beetles (incomplete), Pest
Control In The Home Garden and The
School Garden. These films are used
with lectures before such groups as
Granges, men's clubs affiliated with
Sunday school classes, county agricul-
tural schools, fish and game associa-
tions, nurserymen groups and high
school and academy students. Mr.
Francis reports the idea of providing a
visual addition to oral lectures was ob-
tained from Movie Makers. He finds
Free Films subjects, both sound and
silent, of value in augmenting showings
of his personally made subjects and
may later utilize the Free Films column
to further distribution of the latter.
Criminology ■ To secure more real-
istic likenesses of
the Lindbergh baby than those afforded
by studio portraits, frames from 16mm.
film records of the child were enlarged
and used in newspapers throughout the
nation as an aid in identification. Rep-
resenting most characteristic attitudes,
these arrested motion shots provided,
with remarkable fidelity, a series of like-
nesses of the baby's moods and move-
ments. Thus the 16mm. camera, this
time in an unforeseen manner, afforded
a source of exact information to the
police and public in their search.
Church ■ To further a project by
which it is planned to add
several millions of dollars worth of
books annually to ministerial libraries,
the production of a film which will be
available to churches throughout the
country is being contemplated, accord-
ing to Crawford Trotter, Banning,
Calif., one of the workers on the experi-
ment, known as The Banning Book Plan.
Health ■ The value of 16mm. films
in health work is pointed
out in the 1932 Preliminary National
Negro Health Week Announcement, at-
tention being called to the part films
played in the health movement last
year when, in Kansas City, Mo., a
newsreel of the week's activities was
made to show the improved health and
hospital facilities of that western city.
MOVIE MAKERS
227
In addition to many local showings, it
was shown to medical conventions and
students at the Howard University Med-
ical School. ■ 150 girls saw Drinking
Health, 16mm. Free Films subject, at
the March third weekly meeting of the
Springfield (Mass.) Girls' Club, ac-
cording to Nellie E. Sunderman, A. C.
L., managing director.
DanC6 ■ Philippine folk dances are
to be filmed, according to
a report from assistant trade commis-
sioner, Clarence P. Harper, Manila,
stating that recently a film producing
group arrived in that city from the
United States. It is planned to take
moving pictures of all Filipino dances
from pre Spanish times to the present.
FRFF FN IWK ■ These tlms> °n 16- ""-
r<»tt riUIVU ■ less 35mm. is specified,
are loaned free except for •payment of postage.
Requests should be addressed to the Amateur
Cinema League, Inc., 105 W. 40th St., N. Y. C,
and films desired mentioned by titles. Re-
quests, on receipt, are forzvarded to distributors
ivho get in touch with applicants, and make book-
ing arrangements. Specific dates cannot be
promised until the applicant hears from the dis-
tributor. Do not send postage with requests ;
when it is required, the distributor will notify
the applicant. Of course, films should be returned
postpaid. Some films are limited to groups, in
which cases it is so stated in the reviews. In
applying for films limited to groups, the type
and probable size . of the audience must be men-
tioned. Films are not available outside of the
United States, unless so stated. Any amateur may
apply for films reviewed as this service is not
limited to Amateur Cinema League members.
■ The Conquest Of The Cascades, one
reel, 16 and 35mm., reviewed through
courtesy of the General Electric Com-
pany, shows the new Cascade Tunnel
and emphasizes its contribution to
easier and faster transportation be-
tween the East and the seaports of the
Pacific Nortlrwest. This film is avail-
able for group showings.
O Open And Shut, three reels, reviewed
through courtesy of the Atlas Educa-
tional Film Company, portrays different
types and uses of valves and the mate-
rials and steps in their manufacture.
The Panama Canal, Oklahoma's oil
fields, the Southwest's great irrigation
projects and other interesting fields of
the application of valves are visited.
How neglect to provide or close valves
wastes millions in fuel yearly is shown.
The film is available for group showings.
B The Story Of Goodyear, two reels, 16
and 35mm., shows the activities of this
company in the manufacture of tires,
tubes, mechanical goods, etc. The mate-
rials are traced to their sources in
Sumatra's jungles where rubber is gath-
ered and in Arizona where huge strips
of desert have been converted into pro-
ductive cotton fields.
• Gillette State Hospital For Crippled
Children, two reels, 16 and 35mm., re-
viewed through courtesy of Ray Bell
Films, Inc., shows the modern facilities
of and the great patience and care ex-
ercised by a progressive institution to
correct the physical defects of its child
inmates. The film is available to groups.
PRACTOS
The only
EXPOSURE METER
for both cine and still cameras
Accurate . . . simple . . . compact
. . . wastes no time in making
adjustments or calculations.
The Practos, the newest and simplest of
meters, combines 2 exposure gauges in 1
instrument, one for cine, the other for still
photography. It is the last word in sim-
plicity, remarkably free from complicating
gadgets, yet absolutely accurate in its re-
sults. You do not have to use a sliding
scale — you simply look into the meter and
obtain your findings visually.
A leather case of new design opens
horizontally, as illustrated, facil-
itating the handling of the Practos.
Price $5.75
Send for literature, or see this
unique meter at your dealers.
Burleigh Brooks
127 W. 42nd St. New York
CRfl-IG-
Your cine dealer will gladly demonstrate
how easily you can make a noiseless and
flickerless straight splice on a Craig. See
how the attached scraper removes the
emulsion without wetting the film. See
it today. $15. OO.
Combination Craig Splicer and Thalham-
mer Rewinders. $25. OO.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
DON'T SCRAP THEM
Those 35 mm. portable projectors that have served you so well in the past are now brought
up to date with SYNCROFILM sound on film heads. We do not change the projector
mechanisms in making these adaptations to ANY MAKE of standard 35 mm. portable
projector. The same smooth running, independent drive that is pictured above for a DeVry
Model E, we build into your favorite machine. True reproduction without waver or other
distortion. The low cost is amazing.
(Dealers and servicemen write for particulars)
MANUFACTURED BY
WEBER MACHINE CORPORATION
59 RUTTER STREET
ROCHESTER, NEW YORK
228
MAY 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Garry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Phoenix: Studio of Sound. 812 E. Washington St.
Tucson: T. Ed. Litt, Cor. Congress & Stone.
ARKANSAS
Texarkana: H. V. Beasley Co., 200 E. Broad St.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. P. Hink St Son, Shattuck & Kittredge.
Fresno: Potter Drug Co., 1112 Fulton Ave.
Shaver Lake Photo Shop, 910 Arthur Ave.
Glendale: Kug-Art Photo Service, 507 VV.
Colorado Blvd.
Hollywood: Beam's Stationery, 1.41^4 N. Larch-
mont Blvd.
Bell & Howell Co., 716 N. LaBrea Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
HOLLYWOOD FILM ENTERPRISES, INC.,
faults Sunset Blvd.
Huntington Park: Huntington Park Pharmacy,
6101 S. Pacific Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
VVilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. lwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marsiiutz Optical Co., 518 W. 6th St.
Schwauacher-Frey Stationery Co., 734 S.
Broadway.
Tappenbeck & Culver, 10958 Weyburn Ave..
VVestwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
F. W. Reed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. WashingtOD
St.
Bunnell Photo Shop, 1033 Sixth St.
Eastman Kodak Stores, Inc.,' 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
Phil Lasher, Ltd., 300 7th St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Pedro: Sunset Photo Supply, Inc., 319 W.
6th St.
San Rafael: Webb & Rogers, 4th and B. Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: J. W. Collinge, 1127 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
Ventura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service. 7915
S inta Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Ford Optical Co., 1029 16th St.
Haanstad's Camera Shop, 404 Sixteenth St.
Grand Junction: Dean's Camera Shop, 639
Main St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey St Lewis Co., 1148 Main St.
Hartford: Harrison Harries, 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Fritz & Hawley, Inc., 816 Chapel
St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New Vork Ave., N. W.
Eastman Kodak Stores, Inc.. 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg.. 529-14th St.,
N. VV., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & VV. B. Drew Co., 46 VV.
Forsyth St.
McDaniel Gift Shop, 21 VV. Forsyth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
Miami Beach: Cox Studios, Roney Plaza Hotel.
J. R. Willis, 737 Lincoln Road.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
ILLINOIS
Chicago: Associated Film Libraries. Inc ,
Suite 224, State-Lake Bldg., 190 N. State St
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
1645 Orrington Ave.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 Washington St.
Post Office News Co., 37 VV. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermillion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Freeport: Emmert Drug Co., 15 W. Stephen-
son St.
Gai.esburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith S: Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 VV. Wayne St.
Frankfort- Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
VV. Washington St.
H. Lieber Co., 24 VV. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Carroll: Rexall Store, 120 VV. 5th St.
Cedar Rapids: Camera Shop. 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc.. 60S
Pierce St.
Lvnn's Photo Finishing. Inc., 419 Pierce St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 VV. 4th St.
KANSAS
Topeka : Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: VV. W. Still, 129 VV. Short St.
Louisville: W. D. Gatchel & Sons, 431 VV.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp-Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Dadmun Co., 39 Washington St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Brockton: Iris Pharmacy, 230 Park Blvd.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian. 411 North St.
Salem: Pitman Homovie Service. 45 Summit
Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc.. 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Tewksbury: Mark J. McCann. 23 North St.
Worcester: J. C. Freeman S: Co., 376 Main St.
Harvev & Lewis Co., 513 Main St.
L. B. Wheaton, 368 Main St.
(Continued on fagc 230)
MOVIE MAKERS
229
Came dawn to Mrs* Pepys
NELLA R. CALVIN
DEAR DIARY: Waked, in the chill
dawn, from rose-ate dreams. In
which I had shot an hundred perfect
feet of film of the kitty. As conscious-
ness swept o'er me, drearily pondered
the impossibility of such accomplish-
ment. Bewailed my once high hopes,
buried, these many months, 'neath dis-
carded reels and cartons. In no whit
heartened by the fact that the Buttons
cat, camera shy beyond a doubt, had
tried to atone by assisting me in pic-
ture takings of all other subjects; re-
arranging my sets to meet his taste,
adjusting a tripod leg and proving his
unflagging interest by sitting in at the
previews of our exhaustive labours.
Here my reverie was pierced by the
tyrant voice of our feline demanding
entrance. Buried the good ear in my
pillow to no avail. The kitty had de-
cided to come in. So below stairs to
give grudging welcome with true but-
ler hauteur. The pretty darling, in no
wise abashed, frisked on ahead as I tip-
toed back to the bed chamber. Closed
the door gently and in greate relief that
the other thirds of the family had not
roused to caterwauls and stair creak-
ings. Admonished Puss, in no uncer-
tain whisper, 'gainst the danger cf in-
curring the paternal before-Mocha-ire.
Which the Child inherits. Waxed fairish
wroth anent the feline belief that the
seasons change each dusk and dawn.
Sotto voiced that night is not a synonym
for summer nor, yet, day for zero. How-
beit, well knowing that the next six o'
the clock would find him athirst for
draughts of moonlit ozone and, yet, an-
other morn, e'en as this, shivering at the
home portals. Buttons said nothing at
all. Of what avail, ever, an heated ar-
gument 'gainst barricade of frozen si-
lence? Realized, an instant late, that,
verily, actions speak louder than words
when kitty anticipated my return to my
warm bed by one leap. Questioned his
claim that possession is nine points of
the law. Engaged in fisticuffs over his
determination to double for me as lead
of In The Arms Of Morpheus. Van-
quished in battle, I admitted, albeit re-
luctantly, that his type of beauty be-
came the setup better than mine own.
Applied mercurocrome to sundry
wounds and perched, as best I could,
'mongst the scant coverings he had
deemed unsuited. Whilst he melted
into the rhythm of the thing, I studied
the picture before me. The golden sheen
of the new down comforter, a match
with amber eyes, framed his ebon
beauty. And the luxurious role seemed
as tho created for his daytime talents.
Ah, the crystalline revelations of early
morn, flashing the cause of my erst-
while failures! I had tried to force the
kitty to play a part rather than defer
to his innate, fastidious judgment of a
fitting character. A greate resolve came
upon me. So stealthily up and into
gown and slippers, mindful whilst my
mind worked feverishly betimes, that
the family must not suffer rude awaken-
ings. Dismayed, upon descent to the
studio, over the possibility of having to
make two trips up with necessary im-
pedimenta. Decided against it. Admit-
ting a likely weave from a camera held
in mine none too steady hands, dis-
pensed with the tripod, thus substract-
ing one upward journey. Tucked a few
photofloods under one arm, picked up
the camera and grasped the portable
studio lamp and cord with the free
hand. Reached the first landing without
mishap. My foot struck something soft,
which scuttled. The ensuing crash was
as warning lightning to the thunderous
exclamation which reverberated down
the staircase well. I answered not; for
long minutes I sat midst, and upon,
shattered bulbs until the storm subsid-
ed. The soft and furry kitty, come
down to help me, as is his wont, rubbed
gently to and fro, purring his sympathy
at my bulbless plight. I succumbed to
his charms. Of what use aught else, now
that there, again, would be no movie
making of the Buttons cat? So, gathered
him into my arms and softly crooned,
Our kitten ket doth reign supreme,
Nor knows, nor cares, if he be right,
Demands attentions, tho they seem
To go on, morning, noon and night.
Our liege lord sometimes murmurs,
"Please,"
A tactful gesture meant to smooth
Our ruffled feelings, because he's
The Sovereign here. No need to soothe
His subjects who, beyond a doubt,
Know nothing, ever, can be planned
To break his rule or tend to rout
The mastery of his command.
*Dear Mr. Eno:
The titles have been received as
ordered and 1 am writing to say
that I am very much pleased with
them. The style of letter has char-
acter .... easy to read as well as
attractive. Thanking you for your
good work, I am
Very truly yours,
Arthur L. Clark,
Amateur Movie Department,
National Sportsman, Inc.
Send $2.00 and copy for two short
titles. A Test Strip will be given free
with every order.
MM
*Dear Mr. Eno:
The art title and the descriptive
title to this film are beautiful pieces
of workmanship and show up mar-
velously on the screen. The map
is very cleverly gotten up, and the
whole thing put together makes
one of the nicest pieces of work
that I have ever seen on the ama-
teur screen.
Yours very truly,
Arthur E. Evans,
Long Beach, California.
• Sixth and seventh in a series of unsolicited
letters indicating customer appreciation.
Free: Test Film
While your lights are still on, a
correct focus may be obtained if
Eno's Test Strip is spliced into
your film.
DISTINCTIVE KODACOLOR TITLES
(Hand Lettered or Printed)
48 HOUR SERVICE
RALPH 13. END
America's Pioneer (16mm.) Art Title
Builder and Film Editor. Charter
Member A.C.L.
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
230
MAY 1932
(Continued jro»i page 228)
MICHIGAN
Bay City: Bav City Hdw. Co., Sporting Goods
Dept., 1009-15 Saginaw St.
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co.. Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co., Dept. 290.
Metropolitan Motion Picture Co., 2310 Cass
Ave.
E. B. Meyrowitz, Inc.. 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Camera Shop, Inc., 16 Monroe
Ave.
Photo Service Shop, 44 Monroe Ave.
Tackson: Royal Film Service, 125 Jackson Ave..
w.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth : Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc.. 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
K. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Hanley's Photo & Radio Shop, 116 E. 10th St.
Plaza Camera Co.. 4707 Central St.
St. Louis: A. S. Alof Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bios.. 608 Olive St.
Famous-Barr Co.. Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O.
St.
Omaha: Eastman Kodak Stores, Inc.. 419 S. 16
St.
J. (I. Kretschmer it Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, i A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 23S
Kearny Ave., cor. Bergen Ave.
Lakewood: Artists Photo Service, 19 4th St.
Maplewood: John H. Osmun, 174 Maplewood
Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morkistovvn: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera De*pt.
Fireman's Drug Store, Market and Broad.
I. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Passaic: Rutblatt's Sport Shop, 38 Lexington
Ave.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfiei.d: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Ridgewood: Chapman Sales & Service Co., Inc.,
56 Godwin Ave.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson. 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
ViNei.and: Robbins Photo Service, Inc., 615
Landis Ave.
West Englewood: C M. Vanderbilt, Inc., 374
Brianliffo Rd.
West New York: Rembrandt Studio, 526 "d"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy. Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
F. E. Colwell Co.. 465 Broadway.
I'.inghamtcn : Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co.. 37 Niagara St.
United Projector & Film Corp.. 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co..
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 350 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
ABE COHEN'S CAMERA EXCHANGE, 120
Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak . Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Film Featurettes, Inc.. 130 W. 46th St.
Fotoshop. Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Gloeckner & Newby Co., 9 Church St.
Hecker's Camera Store, 1519 Amsterdam Ave.
HERBERT B HUESGEN CO., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician, Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
Luma Camera Service, Inc., 302 W. 34th St.
Marcus Photo Service, 1170 St. Nicholas Ave.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz. Inc.. 520 Fifth Ave.
MOGULL BROS., 1944 Boston Rd.
New York Camera Exchange, 109 Fulton St.
Y. Nomi, 174 W. 95th St.
Parker and Battersby. 146 W. 42nd St.
Pickup & Brown, Inc.. 368 Lexington Ave.
Rab Sons, 1373 Sixth Ave.
G. Tankus. 837 Seventh Ave.
WILLOUGHBYS, 110 W. 32nd St.
Pelham: Kolf & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley, Lindsay & Curr Co., Camera Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Alex. Grants Sons, 119 E. Washington
St.
Francis Hendricks Co.. Inc., 339 S. Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Lincoln Photo Service, 1136 Lincoln Ave.
White Plains: Cooper Bros. & Co.. Inc., 56
Main St.
Yonkers: Joseph F. Blatzheim. 4-6 Riverdale
Ave.
NORTH CAROLINA
Charlotte: The Rendezvous. 317 S. Church
St.
W. 1. Van Ness & Co., 213 Tryon St.
OHIO
Akron : Pockrandt Photo Supply Co., 16 N.
Howard.
Canton: Roth & Hug Co., 539 N. Market Ave.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416^2 Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Public Square.
Home Movies Co., 1501-7 Superior Ave.
Lyon & Healy, Inc., 1226 Huron Rd. at
Euclid Ave.
Columbus: Capitol Camera Co.. 7 E. Gay St.
Columbus Photo Supply. 62 E. Gay St.
Don McAlister, 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams. 2028 E. Third St.
Findlay: Day Radio Shop, 111 E. Sandusky St.
Lima: Hunter Drug Store. Lima Trust Bldg.,
49 Public Sq.
Portsmouth: F. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Eugene: Stevenson's, Inc., 764 Willamette St.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe S; Co., Kodak Dept.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: F'. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lancaster: Darmstaetter's, 59 N. Queen St.
Lebanon: Harpel's, 757 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio, 20th and Chestnut Sts.
Klein S: Goodman, 18 S. 10th St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co.. Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones - Hardware, Sporting Goods
Dept., 115 E. Independence St.
Goods Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop. 278 W.
Market St.
RHODE ISLAND
Newport: Rugen Typewriter & Kodak Shop,
295-7 Thames St.
Pawtucket: Thomas N. Simpson, Broadway and
Exchango St.
Providence: E. P. Anthony, Inc.. 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Memphis: Memphis Photo Supply Co., 122
LTnion Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Chas. G. Lord Optical Co., 704
Main.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks. 119 W. Holly St.
Pasco: New Pasco Drug Co.
Seattle: Anderson Supply Co.. Ill Cherry St.
Eastman Kodak Stores. Inc., 1415-4th Ave.
bowman S: Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. 4,
707-11 Sprague Ave.
(Continued on page 232)
MOVIE MAKERS
231
Closeups — What amateurs are doing
JAMES W. MOORE
■ To support its petition for a char-
ter from a national fraternal group, a
400 ft. reel of amateur movies is being
used by a local fraternity at the Uni-
versity of Rochester, N. Y. The film
was made through the ingenuity and
friendly interest of graduate members
of the national organization, all of
whom were employed at Rochester by
the Eastman Kodak Company.
Eugene P. Rowland
A "Movie Makers" cover poster
• Posters of a recent Newark Athletic
Club movie party featured Movie
Makers covers in the design by M. D.
Hammerschlag, A.C.L. and George J.
Brenn, shown above.
■ Made entirely of film cutouts in
which the actors or the action went
wrong, a recent comedy produced by
Mack Sennett suggests a similar resting
place for amateur film faux pas. Movie
Makers would welcome news of any
such remodeled amateur mistakes, if,
of course, amateurs ever make any.
■ Russell T. Ervin, Jr., A. C. L., New
York City, author of Seasoning For Sea-
sonal Sports in this issue, first camera-
man for the Grantland Rice Sportlghts
and a fine coach on cine athletics is, in
a way, also a League discovery. Years
ago he made a one reel photoplay. Ann
How, which won first prize in a national
amateur film contest. The news went
in Movie Makers, Ann How in the
League's Club Library and Mr. Ervin to
Hollywood. After two years in the stu-
dios, he returned to New York, started
as assistant on a Sportlights truck and
now, for more than a year, has been
Number One Man.
■ Circus Daze, 1200 ft., 16mm., made by
0. A. Zahner, A.C.L., Saint Louis, Mo.,
is a pleasant and successful film of
circus life and of Mr. Zahner's young
son. It tells the story of a lad so keen
on going to the circus that he dreams
of a grand adventure under the big top,
only to wake at last with just another
school day ahead of him. Needed inte-
rior scenes were secured by Mr. Zahner
from the circus films of a fellow League
member, Robert Whitfield, Colonel U. S.
Army. Columbus, Ohio.
H That matter about the new luncheon
set reported in these columns in April
didn't work out so well, it seems. The
producer and husband hurried his wife
off in jig time and bought the required
new luncheon service. Home again,
however, the lady changed her mind,
dedicated the old set to her kitchen
rather than to his cinema crash and the
movie making husband has to buy the
property plates after all.
■ The Jam Of Jim Jones, filmed by
George Ward and Frank Boylan, both
New York City A.C.L. members, chosen
best film in all classes in a recent ama-
teur movie contest, was neatly adapted
from an old Movie Makers article.
Bungler Blues. This, it will be remem-
bered, was the story in which a camera
jammed on a nice young chap out shoot-
ing a summer scenic. He, nothing
daunted, prepared to use his trousers
for a changing bag. Just at the crucial
moment, unexpected companions — a
bevy of girls, a hive of bees and an ac-
tively inquisitive bull — complicated his
plan pretty badly. Judging from the
present prize winning interpretation of
this scheme, we take the idea back as a
safe suggestion for summer filming.
■ Unusual amateur films of the recent
Grand Joint Maneuvers, held by the
United States Army and Navy off the
Hawaiian Islands, were secured by
League member R. A. Osmun, Major
U. S. A. and military aide to Governor
Judd at Honolulu. Major Osman caught
scenes from the shore of the invaders
reaching the beach with horses, artillery
and other gear, greeted a few old friends
among the "enemy" and went on to make
scenes from the transports of the fever-
ish landing activities there. He further
reports unusually good luck in film-
ing the recent eruption of Halemau-
mau, where, during most of three suc-
cessive days and nights, he shot twelve
hundred feet of fire and brimstone.
wny wcccy
about depressions or slow summer
months?
Our sound and silent library or budget pur-
chasing plan gives you the immediate use of
as many reels as you can sell or rent.
Portable Movie Equipment Co.
C-H-S Film Library Division
91 Seventh Avenue, New York City
George Washington Bicentennial Special
On 100 ft. reel, $5.00
On 400 ft. reel, 20.00
Distinctive Printed Titles
Plain and original art backgrounds, 25c upward.
Pictures and maps copied. Samples gratis.
Correspondence invited. Personal attention given
your cine and title problems. Processing 100 foot
positive films, $1.25.
W. STUART B USSEY
814 N. Meridian St. Indianapolis, Indiana
Lincoln 1207
Rf)°7 flFF Standard Equipment
JU/o Urr Film and Accessories
6mm. film 1 9'/imm. film I A D T
2— 1 / A K I
c 1V2C ir-oc
Foot I JL Foot I Spec. KJFt
Mm
Foot I A Foot I Spec.
400' SOUND °L $13.98
■ >i n-rnm/ pathex, q.r.s., victor,
NMUGKB & H AGFA devry
111 U I UUIX KEYSTONE. ETC.
Home Talkie unit. Complete $17.49
Simplex 16mm. camera (2 speeds)
With /'/3.5 lens and case, spec.
Brite-Lite $17.50; beaded screen... $8.64
We convert silent projectors To SOUND!
Large Library. Send for new
film lists and Bargain Bulletin
MogullBros.,1944BostonRd.,N.Y C.
Orders filled day of receipt! Before
you buy — always get our lower price!
$35
y Sale of 100 ft. Subjects j
k $2.50 UP
;[ 400 ft. subjects $8.00 up. 1
W Complete and varied assortment A
. of films to meet every taste and
^ requirement. 4
^ Send for Sales Ami Exchange List. a
Manhattan Film Rental Library }
W 5115 18th Ave. Brooklyn, IM. Y. ^
For your 16mm. Movie Camera
PRICE $4.25
Daylight loading
100 feet
This price includes Free Processing with a negative and
a positive print. Also Parcel Post charges.
Send for Ci_„„L„ r:|„ I „U 73 1 '/2 S. Ferris Ave.
literature OtraUDe Film LaD. Los Angeles. Calif.
Fast Flying, 100 ft., 16mm., $2.90
Photographed at national aircraft show,
1932; real action in the air and on the ground.
DUPLICATES
Protect your valuable films; negative
copy, 3c per ft.; negative and positive
copy, 5c per ft.; extra positive copies,
3c per ft.
H. C. FILM SERVICE
12191 llene Ave. Detroit, Mich.
Complete your volumes
of Movie Makers
STILL AVAILABLE
1930 — all copies except January
1931 — all but January and February
35 cents for each copy for United States and
abroad; 45 cents for Canada.
Please send remittance with all orders.
MOVIE MAKERS
105 W. 40th ST. NEW YORK CITY
232
MAY 1932
(Continued jrom -page 230)
Joyner Drug Co., Howard & Riverside Ave.
Wenatchee: Wheeler's Plioto & Gift Shop, 33
N. Wenatchee Ave.
Yakima: Yakima Book ft Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Charleston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 Milwaukee
St.
Photoart House of Milwaukee, 220 Wells St.
Oshki.sh: Coe Drug Co., 128 Main St.
Waukesha: Warren S. O'Brien Commercial
Studio, 353 Broadway.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon : Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (Soutli Africa) Ltd., "Ko-
dak House, "Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Kissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Kosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Kuthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harringtons, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle
St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Agency, 179 Elizabeth St.
West Australia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
AUSTRIA
Vienna: Siegfried Wachtl. VII Neubaugasse 36.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd.. 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Film & Slide Co. of Canada, Ltd., 156 King
St., W.
Lockhart's Camera Exchange, 29 Richmond
St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave., at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St..
W.
Film & Slide Co., of Canada, Ltd., 104 Drum-
mond Bldg.
Gladwish & Mitchell. 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHILE
Santiago: Casa Heffer, Calle Estado 242.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393 Nan-
king Rd.
Eastman Kodak Co., 24 Yuen Ming Y'uen Rd.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam-
eras, Senovazuna, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Colin, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Birmingham: Kodak, Ltd., 42 Corporation St.
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 22-23 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
Home's Camera Mart, 58 Old Broad St.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd., 119
Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Sands, Hunter & Co., Ltd., 37
Bedford St., Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 New Bond St.,
4 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., 400 Oxford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak Ltd., 32 Grainger
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
LeGrimoire, 182 Blvd., Berthier, XVII.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str., 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi. 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Foto Schaap & Co.. Spui 8.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Oroningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Capi, Broerstraat 48.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz, U-4.
INDIA
Ahmebabad: R. Tolat Si Co., Bawa's St. Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
M. L. Mistry & Co., 46 Church Gate St., Fort.
Calcutta: Army & Navy Coop. Soc, Ltd., 41
Chowringhee St.
Photographic Stores & Agency Co., 154 Dhur-
amtolla St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Ar.oninia, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati. Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Hon jo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Fukada & Co., 2 Chome Kitakyutaro
Machi, Higashiku.
Shueisha, 25, Kitahama 4 Chome, Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini. S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd.. 705 Colombo St.
Dunedin: Kodak New Zealand. Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
Te Aro Book Depot, 64 Courtney PL, Gas
Company's Bldg.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine. 103y2 St. Vincent
St., C 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
Paisley: J. Lizars, 27 High St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Bilbao: Ignacio Amann, agent for Bell & Howell.
Colon de Larreategui 9.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol. 4.
Avenida Conde Penalyer 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong. lc Penang St.
Singapore: Amateur Photo Store. 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 65-3 High St.
SUMATRA
Medan : Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks. Friestrasse 74 (Sodeck).
H. Strubin & Co., Cine Service. Gerbergasse
25.
Geneva: Kodak Societe Anonyme. 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall). 5 Rue de la
Confederation.
Winterthur: Alb. Hoster, Marktgasse 57.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co., Bahnofstr. 61.
VENEZUELA
Maracaibo: MacGregor & Co.. Apartado Postal
No. 197.
Dealers Listed In Black Face Italics Are Advertisers In
S3 a year (Canada, $4.00,
Foreign, $3.50); 25c a copy
MOVIE MAKERS
105 West 40th Street
New York City
MOVIE MAKERS
233
Classified advertising
10c a word; minimum cost $2.00. Cash re-
quired with order. Published by Movie Makers
without responsibility for statements. Make re-
mittances to advertisers, not to Movie Makers.
EQUIPMENT FOR SALE
■ BASS BARGAINGRAM No. 209 is waiting
and ready for you. Send for your copy. Save
big money. 100 ft. Peko spring: motor wound
16mm. camera with f/3.5 lens at $25.50. Latest
Model DeVry G projector, 200 watt bulb, motor
driven, without case at $32.50. Filmo Model
70A camera with 1" Cooke //3.5 lens and case
at $67.50. Sound outfits, professional cameras,
projectors, accessories, 1001 items for the ama-
teur and the professional all in Bass Bargain-
gram No. 209 which will be sent to you free on
request. Write to camera headquarters. BASS
CAMERA COMPANY, 179 W. Madison St.,
Chicago, 111.
■ ONE DOLLAR ONLY — New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ CINE-KODAK Model B f/1.9, with case,
excellent condition, color filter and Hevde dis-
tance meter, all for $80 cash. BOX 138, Movie
Makers.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOD CINEMA STUDIOS, 1608 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
■ 16MM. MOVIE cameras and projectors. For
the home, school, church and business organiza-
tions. Literature free. D. F. ELDER & COM-
PANY, Dept. 17, Chelsea, Mass.
■ EYEMO 35mm. camera, used but in good
condition. Two speeds; T. H. C. f/2.5 lens;
small folding tripod; complete with case, $75.00.
HARRY FINKELSTEIN CO., West Bay Cor.
Jefferson, Jacksonville, Fla.
■ MOVIE SCREENS, beaded, sound and silent
types. Fold into leatherette case. 22" x 30".
$17.50. 30" x 40", $20. Write for particulars.
R. E. STUART CO., 4130 N. Meridian, In-
dianapolis, Ind.
■ CINE-KODAK, model K, f/1.9 lens with
Kodacolor filter, brown case. New and perfect
condition. Make offer. Reply to BOX 139,
Movie Makers.
| VICTOR Animatophone, projector only (dem-
onstrator), list $335, our price, $200. DeVry
Cinetone, industrial model, 16mm., amplifier and
speaker complete (demonstrator), list $522, our
price, $235. Cine-Kodak f/6.3, $23.00. Model
A. Kodascope, $30.00. Pathe pictures, $1.75
per 100 ft. SCRANTON HOME MOVIES
LIBRARY, 316 N. Washington Ave., Scranton,
Pa.
■ SURPRISING PRICES. 3 Universals, 2
Wilarts, DeVrys, Victors, Filmos, heavy tri-
pods, Hayden splicer, Dremophots, films. Write
F. W. BUCHANAN, Johnstown, Pa.
■ NEW Ansco Cine 4 speed Model B with case
taken to settle a debt. List $125, sell for $85.
G. A. NOYES, Houlton, Maine.
H SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ CINE ART 16mm. pictures now $3.50. New
Stewart-Warner, world's finest low priced movie
camera. Catalogs. LORENZ FILM PRODUC-
TIONS, Madison, Ind.
■ EASTMAN panchromatic film, $4.35 pre-
paid; Kodascopes and Cine-Kodaks 20% off, all
new models and unopened, Agfa Ansco pro-
jectors, $65.00 (list $125.00); send for other
bargain lists. C1NECRAFT COMPANY, 80
Boylston St., Boston, Mass.
■ FIFTY DOLLARS ALLOWANCE for your
model C or DeVry projector on a brand new
Bell & Howell model M, Eastman model K pro-
jector, with case. NATIONAL CAMERA EX-
CHANGE, 5 South 5th St., Minneapolis, Minn.
■ DEVELOP AND _ REVERSE your own
16mm. films for $1.75 per hundred, including
film. Send for full particulars and sample.
Stineman printer complete with motor, practical-
ly new, $74.00. R. B. ANNIS ELECTRICAL
APPARATUS, 1505 E. Michigan St., Indian-
apolis, Ind.
■ CINE FILM reversible stock, $3.69 while
they last. Send for our bargain scoop. WOLK
CAMERA CO., 219 S. Dearborn St.. Chicago,
111.
H PACENT lCmm. portable home talkie pro-
jector, complete with portable amplifier and
loud speaker, list $270.00, like new, $165.00;
Ampro model B deLuxe projector for A. C, list
$210.00, like new, $125.00; Filmo projector,
200 watt, round base, $75.00; Business Koda-
scope projector, complete, $37.50; Model G. De-
Vry projector, 200 watt bulb and case, $30.00:
Filmo Model 70A camera, 1" //3.5 Cooke lens
and case, $90.00; Filmo Model 70D camera.
1" f/3.5 Cooke lens in "A" case, $140.00:
Zeiss Kinamo S-10 with f/2.7 Zeiss lens and
case, $40.00; Victor Model 3 camera //3.5 lens,
no case, $47.50; 15mm. f/2.7 Carl Zeiss Tessar
in fixed mount, $24.00; 1" f/2.7 Carl Zeiss Tes-
sar in focusing mount, $17.50; l"f/1.5 Wollen-
sak Velostigmat in focusing mount, $32.50;
4-3/4" Carl Zeiss f/6.3 Tele-Tessar in focusing
mount, $35.00; Dremophot exposure meter for
Filmo cameras, $2.50; Leitz distance meter with
large scale, $10.00; B & H Photometer for
movie cameras, $13.50. WILLOUGHBYS, 110
W. 32d St., N. Y. City.
EQUIPMENT WANTED
■ WANTED several DeVry 35mm. cameras.
State particulars and price. Write ROOM 56U,
Woolworth Bldg., N. Y. C.
■ WANTED — 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
FILMS FOR RENTAL OR SALE
■ SURFBOARDING: On The Waves at Wai-
kiki, 150 ft., 16mm., price, $9.75. A new sub-
ject, Death Valley, will be ready soon. GUY D.
HASELTON, Christie Hotel Bldg., Hollywood,
Calif.
■ FREE MEMBERSHIP in our rental library.
Write today for application and list of avail-
able subjects. Our rates are very low, our
films the finest. EASTIN FEATURE FILMS,
Galesburg, 111.
■ USED 16MM. SUBJECTS, perfect condition,
as low as $1.75 per 100 feet. Write today for
our free catalog of new and used films at bar-
gain prices. EASTIN FEATURE FILMS.
Galesburg, 111.
■ PIXY PICTURES, 16mm. short subjects (25
ft.) complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E.
191st St., Cleveland, Ohio.
■ SELECTED 16mm. 100 ft. new films, $3.75.
Send for list. Art reels our speciality. LIN-
COLN PHOTO SERVICE, 1136 Lincoln Ave.,
Utica, N. Y.
■ SEND FOR FREE LIST of our Illini Home
Movie Rental Library for members or nonmem-
bers within a 1000-mile radius. ILLINOIS
CAMERA SHOP, Galesburg, 111.
■ 35 MM. NEGATIVE fresh Eastman and Du-
Pont stock — panchromatic — supersensitive' — gray-
back. 100 ft. daylight loading rolls, $2.75
each. Sept rolls, 1 dozen, $3.00. Also lengths
from 50 ft. to 400 ft., at prices ranging from
iy2 to 2y2c. per foot. WARRANTED FILMS.
INC., 729 Seventh Avenue, N. Y. C.
■ 16MM. TALKIES with disc, $4.95. Rever-
s:ble panchromatic film, $2.55. 16mm. Chaplin,
Felix, etc., films. $.75 each. Bargain lists free.
HOME MOVIE SERVICE, Box 32, Easton, Pa.
FILMS WANTED
■ REASONABLY priced, used 16mm. films for
personal library. Preferably 400 ft. Give title,
description and price. PARSONS, Box 72.
Oakley, Ohio.
■ WANTED— Good used 16mm. films. 100.
200, 400 ft. lengths. Give titles, producer,
price wanted. EASTIN FEATURE FILMS.
Galesburg, 111.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE. EXCHANGE PRICES:
400' reel, $1.00; 200' reel, .50; 100' reel. .25.
On the 100' and 200' reels add return postage.
FVERY REEL SENT OUT CARRIES A
GUARANTEE OF 100% SATISFACTION.
QUALITY HAS NO SUBSTITUTE. CINE
CLASSIC LIBRARY, 1041 Jefferson Ave.,
Brooklyn, N. Y.
■ DON'T EXCHANGE your films, no matter
how low the fee, until you get full informa-
tion about our exchange service and free list
of finest quality subjects available in exchange.
Write today. EASTIN FEATURE FILMS.
Galesburg, 111.
Russell C. Holslag
• Enhance the
value of your
Movie Makers
by preserving
them in one of
our binders.
0 $1.50 each; 30c addi-
tional for Canadian and
foreign postage.
Amateur Cinema League, Inc.
105 West 40th St. New York, N. Y.
| FILM CLUB has room for few more mem-
bers. Dues fifty cents. Receive new film every
week and free films regularly. Write FILM
CLUB, Box 141, Movie Makers.
TRADING OFFERS
■ TARGET pistols, shotguns and good fire-
arms accepted in trade on motion picture and
photographic equipment. Good allowance for
your used movie equipment on the new JL Filmo
projector, Eastman Model K, etc. NATIONAL
CAMERA EXCHANGE, 5 South 5th St., Min-
neapolis, Minn.
PERSONAL OPPORTUNITIES
■ MAKE YOUR CAMERA bring you an in-
come instead of expense. Earn good money
right where you live making photographs that
will sell to magazines and newspapers. Tre-
mendous demand. Fascinating, money making,
spare time occupation, quickly learned at home
through U. P. training in journalistic photog-
raphy. Possible to earn training fee while
learning. Write for Free Book todav. UNI-
VERSAL PHOTOGRAPHERS CORPORA-
TION, Dept. 3, 10 W. 33rd St.. N. Y. C.
MISCELLANEOUS
■ MOTION PICTURE APPARATUS built.
designed, repaired. Lenses fitted on all cam-
eras. Experimental work. Lowest rates. D.
DONCASTER, 5-13 Borden Ave.. L. 1. City.
N. Y. IRonside 6-8767.
■ 16MM. TYPED TITLES — mottled back-
ground, 2c per word. Minimum charge per
title, 20c. Minimum order, $2.00; Main, end
titles free. Samples. Editing at $1.00 per 100
feet. H. RIDDEL, 2923 N. Prospect, Milwau-
kee, Wise.
■ MAP ANIMATIONS. Titles (2 cents per
word). Editing. Reproductions in Kodacolor
our specialty. Write for information. BOX
140, Movie Makers.
MAY 1932
S* \S ■ "Lots of ama-
quire Ixoda says: teurs are Hke
' * lots of lawyers
I know that get so wound up in their case they
plumb forget the jury. I went to one movie shooter's
house a fortn't ago and I'll take oath on it that he showed
us his last summer's trip for three solid hours. Old man
Spragg was there and he fell asleep and tumbled against
the table and broke a ten dollar vase. That stopped the
pictures. A couple of days ago, my niece had a movie
party and I asked my boy down in New York, who
works in KODASCOPE LIBRARIES, to send up some-
thing to save Mattie's new gold fish bowl from being
broke during the slumber hour. He sent up four what
he calls ' prereleases.' Take it as gospel truth, nobody
went to sleep, but Doc Erkin had some trouble getting
Mis' Buell's false teeth out of her throat, where she had
laughed 'em in. Anybody can sleep through a depres-
sion but it takes my boy's pictures to make you laugh
out of one."
on
OVER
into
releases "
antidote for
your left, moving straight oft the page
your projector, are the Squire's four " pre-
now ready for you.
you
whatever ails
WILL ROGERS is an
his ROPIN' FOOL.
m
HAROLD LLOYD in HAUNTED SPOOKS will make
grandfather's clock strike with joy. LAUREL and FIN-
LAYSON in SMITHY are funnier than Congress and the
income tax. CHARLEY CHASE, who has NO FA THER
TO GUIDE HIM—
BUT see for yourself. Season your films with ours and
see how everyone wants more of our " Pictures that
Please."
Branch Libraries and Distributors in fifty five of the leading cities of
the United States and Canada.
LIBRARY MEMBERSHIP NOT REQUIRED
But recommended because of extra advantages and economies afforded
RECENT REDUCTION IN RENTAL RATES
Nonmembers now rent at catalog rates. Members enjoy a 10% discount
NEW ILLUSTRATED DESCRIPTIVE CATALOG, FOURTH EDITION
contains many new subjects, drops many of the older ones and reduces
rentals of many others. 400 reels at average rental of less than 90c each!
Average rental entire library 'nearly 900 reels) only $1.09 each. You can
rent twenty to forty reels for the cost of one!
ATTRACTIVE PROPOSITION
to dealers who desire profits from operation of their
own film rental libraries. Our experience and resources
assure the success of our distributors. No risk. Send
for booklet "How The Kodascope Library Brought Pros-
perity To Our Store."
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
SUBSIDIARY OF EASTMAN KODAK CO.
Printed by WNU, New York
MOVIE MAKERS
WHEN YOU SHOOT WITH KODACOLQR
DO YOU KNOW
that LONG SHOTS
can be taken in color?
There is an impres-
sion that only close-
ups are feasible with
this process. Yet,
with but slight atten-
tion to one or two im-
portant details, beau-
tiful Song shots are
fully possible. The
League has full in-
formation about the
way to get these shots
and this special in-
formation is available
to League members.
DO YOU KNOW
that the League has
a bulletin on this
specific subject,
"REFLECTIONS IN
COLOR," which is
free to every member
on request? It covers
all phases of movie
making in color.
Kodacolor has new
vistas for the movie
amateur who has read
this bulletin because
he then takes up his
camera with an
entire confidence.
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street
New York, N. Y., U. S. A.
Date
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc.
My remittance for $ made payable to AMATEUR
CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of
this amount, I direct that $2 he applied to a year's subscription to
MOVIE MAKERS. (To nonmembers, subscription to MOVIE MAK-
ERS is $3 in the United States and possessions; $4.00 in Canada;
$3.50 in other countries.)
MEMBERSHIP $5 a year (Canada $6)
LIFE MEMBERSHIP $100 in one payment
and no further dues.
Name Street
City-
State Country
One of the Amateur Cinema League's animated leaders is free with
this membership. Please state width you wish — 16mm. — 9.5mm. — 35mm.
M-32
The answers to these questions and to every other that may confront you as <i
movie amateur may be yours at the cost of oniy FIVE DOLLARS for Amateur
Cinema League membership. The corner coupon above is at your service to
bring you the help that thousands now are getting and using habitually.
AMATEUR CINEMA LEAGUE, INC.
THE WORLD ORGANIZATION OF HOME MOVIE MAKERS
105 West Fortieth Street
new york, new york, u. s. a.
-r . r . Tr , , \V7ITH Super-sensitive Kodacolor
Eastman Supersensitive Kodacolor Yy r
Film you can now make full
jF/7/w makes full color movies when color movies on dull days or in open
shade with your camera at half
subjects appear in open shade or
even when the sky is overcast.
speed ... on slightly cloudy days at
normal speed. A few shadows, a par-
tially gray sky can't prevent this film
from recording every color, every de-
tail of subject and background.
All you need is a Kodacolor Filter
Outfit and a Cine-Kodak equipped
with an f.1.9 lens. Eastman Super-
sensitive Kodacolor Film will do the
rest. It's twice as fast as the original
Kodacolor Film. It assures greater
Eastman Super-sensitive Kodacolor Film costs the same as
the original Kodacolor Film (now discontinued) — 100-foot
roll, $(j; the 50-foot roll, $4.7%
brilliancy . . . sharper definition . . .
richer colors . . . than you've ever had
before.
Here's your chance to make movies
of startling realism. . .to capture the
riotous beauty of spring flowers and
foliage. . .the natural coloring of the
hair, eyes, and complexions of your
friends and loved ones . . . the multi-
colored spectacle of gorgeous land-
scapes and seascapes. And to ac-
complish this under an amazingly
wide diversity of light conditions.
Your Cine-Kodak dealer will gladly
show you examples of these new
Eastman Super-sensitive Kodacolor
movies. Eastman Kodak Company,
Rochester, New York.
Super-sensitive KODACOLOR FILM
MOVIE
magazine of the ilmateur Cinema League, Inc.
JUNE,
25c
T
he Low-Priced Leader
The Ansco Risdon, Bx/% x 2x/2 x 3 inches, weighs only 314 lbs. Its slender upright shape and direct vision finder
makes for easiest operation. Bailsch and Lomb F 3.5 anastigmat lens of finest optical correction. Fully guar-
anteed for one year.
AGFA CINE FILM
16 mm Supersensitive Panchromatic
Brilliant, Crisp and beautifully respon-
sive to all color values, Agfa Supersensitive
Panchromatic registers the picture under diffi-
cult light conditions, indoors and out. 100 foot
roll $7.50; 50 foot $4.00. Agfa Panchromatic,
100 foot roll $6.00; 50 foot $3.25. Prices include
free processing and return transportation.
AGFA ANSCO OF BINGHAMTON, N. Y.
Branches: Chicago San Francisco Los Angeles Kansas City Detroit Boston Toronto
NOW
REDUCED
from $2950 to
$
20
JLN a little over a year the Ansco
Risdon has won the reputation of
heing the quality motion picture
camera of the low-priced field.
In design, quality of materials,
precision of construction and per-
formance the Ansco Risdon gives
you everything you can ask of a
motion picture camera under all
average conditions. Thoroughly
tested by thousands of users it has
proved its unfailing ability to get
good pictures, its complete de-
pend ableness.
Now that the price has been re-
duced almost one-third the Ansco
Risdon is more than ever the out-
standing cine camera value. If
your local dealer does not handle
the Ansco Risdon write Agfa
Ansco, Binghamton, N. Y.
ANSCO
RISDON
239
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII June, 1932 Number6
MOVIE MAKERS is published monthly in New York,
N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign
$3.50) ; to members of tlie Amateur Cinema League, Inc., $2.00 a
year, postpaid (Canada $3.00) ; single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August
3, 1927, at the Post Office at New York, N. Y., under the Act of
March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and
Publication office: 105 West 40th Street, New York, N. Y.
Telephone PEnnsylvania 6-6836. Advertising rates on application.
Forms close on 10th of preceding month.
ARTHUR L. GALE Continuity anil Club Editor
RUSSELL C. HOLSLAG Technical Editor
ALEXANDER de CANEDO Art Editor
Cover design Ludwig Bemelmans
Double duty, editorial 245
Plumes of passage, photograph 246
Talking of travel Clara L. Brock 247
Garden closeups W . E. McCarthy 248
Something more than scenic Henwar Rodakiewicz 249
"To err is human — " Kenneth F. Space 250
"So you're going abroad — ■" Clara E. Laughlin 251
Breaking down the plot Epes W . Sargent 252
Amateur clubs Arthur L. Gale 253
Educational films Louis Miller Bailey 254
A thesaurus of tricks John Beardslee Carrigan 255
June boon Carl L. Oswald 256
The clinic Russell C. Holslag 257
News of the industry 260
Closeups James W. Moore 271
Featured releases 273
Around the world with Movie Makers 275, 276, 277
ARTHUR L. GALE Advertising Manager
240
JUNE 1932
//
MAKINETTE
//
Perfectly rigid front is brought into position by the touch of
a convenient button. Large, brilliant direct view finder
composed of two optical units. Opens automatically. Film
is easy to load, and is positively in correct focal plane at all
times. Specially designed sole leather case permits loading
and photographing without removal of camera.
An outstanding feature is the convenient placing of the three
important adjustment scales on one side. They may all be
seen at a glance — diaphragm scale — focusing scale — and depth
of focus indicator.
Leitz Distance Finder can be instantly and firmly attached.
All metal construction. Finest leather cover and genuine
leather bellows. Beautifully finished.
You'll he interested in the
Camera Rewind ♦ ♦ ♦ in the
ENSIGN
KINECAM
$99
with genuine leather case.
Send for descriptive book-
let or see the outfit at
your dealer's.
One of the most important fea-
tures of the 16mm. Ensign Auto
Kinecam is the reverse attach-
ment for rewinding films in the
camera.
The crank may be turned back-
ward and the film rewound for
lap dissolves or other trick work.
Necessary fittings cost $20 above
the price of the outfit.
. a Miniature Still Camera
for Movie Makers
Every movie maker should have a supplementary
still camera, with a fast lens — to take stills along
with his movie shots — and to save movie film on
stationary shots.
Here's a camera so small, so compact, and so
accurate that it does not interfere with movie work,
but definitely assists it! It fits in the palm of your
hand — l%"x 2*4" x 3%" — takes 16 pictures,
1 3/16 x 1 9/16, on standard 8 exposure vest pocket
film — two exposures made on each film.
Equipped with splendid, fully corrected Plaubel
Anticomar //2.7 lens, 2" focus, in special built in
Compur Shutter, speeds up to 1/300.
Furnished complete with ever ready PRICE
case, 2 uniform color optical filters,
sunshade, metal lens cap, cable re- %^§ M \
lease. / \J
tasy to use . . . and
accurate ... the
WILLO
Cine Exposure Meter
Why lose any of your precious film footage?
The answer is, you needn't — if you use the
WILLO meter.
You simply look through the meter and read
correct diaphragm opening directly. No cal-
culating— no adusting. In addition, it acts as
a finder, too, showing exact 16mm. image.
*8
including
case
WILLOUGHBYS
110 West 32nd St. New York
MOVIE MAKERS
241
WomVs GPiAKST
UE5
The NEW MODEL FIVE
VICTOR MOVIE CAMERA
HAS VISUAL FOCUSING, FIVE
SPEEDS, TURRET FRONT,
ATTACHED CRANK, VISI-
BLE-AUDIBLE FILM METER
and numerous other
features . . . $17000
with H.M. I inch F2.9 Lens
(Price of Old Model was $220)
n
VICTOR
MODEL
THREE
Reduced
from $125
^DONT buy any 16 m/m Camera until you have learned
all about these NEW VICTORS .... with many im-
provements at greatly reduced prices! Write for litera-
ture in which all features are illustrated and described in
detail
Victor Animatograph Corp.
DAVENPORT, IOWA, U. S. A.
ASR, YOUPv,
Dealer to
'D€M0N5TI\ATe
V
242
JUNE 1932
<^hCahe every shot a
successful one!
PAYS FOR ITSELF
IN FILM SAVED!
NOW ONLY $30 IN U. S.,
COMPLETE WITH CASE!
Only ELECTROPHOT
gives you scientific accuracy
instantly and automatically
for all exposure readings
Do not confuse Electrophot with any
other method for determining exposure
settings! Just consider; use of the
"squint" tube depends upon the reac-
tion of the human eye. No two persons
have identical vision. The wearer of
glasses must remove them to use the
tube — another "variable quantity" to
be considered. Eyes "see differently"
in different lights. There are differences
in the very principles of operation of
tube meters.
But why take chances?
ELECTROPHOT places at your ser-
vice science's latest development in
light-measuring devices — the photo-
electric cell — in a simply operated,
compact form.
ELECTROPHOT avoids all time
wasting, confusing technicalities. It
asks no careful judgment or approxi-
mations from you. You don't have to
squint through a tube or adjust any
sliding scales. Simply sight ELEC-
TROPHOT, press the button and read
your correct lens setting at a glance,
on a dial graduated from //l to //32,
including the full range of your camera
lens.
What could be easier?
Think of the time you save, of those
quick shots it helps you get, of the film
you save by eliminating exposure er-
rors. Each shot is a successful one.
Those scenes you are so anxious to
record relive on the screen clearly and
vividly.
ELECTROPHOT is ideal for shots un-
der difficult conditions — for indicating
at once whether color or other spe-
cialized work is possible — for interior
scenes — and for using the new super-
speed film. Above all . . . it is a FILM
SAVER. Every shot is a successful
one! Amateur movie makers in every
civilized country have proved the re-
markable results obtained with the
ELECTROPHOT photoelectric ex-
posure meter.
Developed on proved principles em-
ployed in talking motion picture work,
color sorting machines, photometry,
etc., ELECTROPHOT is easy to han-
dle and operate. Its new reflex view-
finder gives complete sighting accu-
racy. It fits in your camera case — re-
placing a roll of film and saving many
rolls, according to users! It weighs
about sixteen ounces and has its own
genuine leather carrying case.
ELECTROPHOT will pay for itself in
film saved, in better pictures, in the
satisfaction you gain from knowing
that exposure failures are a thing of the
past. At its new low price of $30.00,
complete, and including many im-
provements, it is an essential instru-
ment for every amateur who wants
good results.
A model for STILL
camera work
A new ELECTROPHOT has been de-
signed and proved for STILL camera
work. Graduated dial for quick, easy
use. Similar in operation to movie
model. A glance at the handy chart
and you have the correct lens setting
for perfect stills. No guessing or calcu-
lating. Equally valuable for interior,
color filter and other special work.
Complete with case, $30.00 in the U.S.
Ask your dealer for the folder.
You can order the ELECTROPHOT
direct or through your dealer who can
give you a completely descriptive fold-
er and show you this unusual, fully
automatic exposure meter — the only
one of its kind!
ELECTROPHOT is a product of
J. Thos. Rhamstine*
Manufacturer of Precision Electrical
Apparatus for 12 Years
501 East Woodbridge, Detroit, Mich.
MOVIE MAKERS
243
New Color Filters for use with
+ modern movie film +
Amber. . . green . . . red . . . neutral density
Bell & Howell now offers a new series of color niters,
developed especially for use with today's panchroma-
tic and supersensitive panchromatic film, and bearing
factor symbols which are accurate for these films.
These are the filters of the new line:
P-2X light amber and P-4X heavy amber filters, for use with
panchromatic film, to give correct monochrome rendition of red
and orange colors.
S & P-4X green and S & P red filters, for use with either film.
The green filter is useful in filming landscapes. It vastly improves
reproduction of green tones. The red filter is for special effects such
as faked moonlight scenes, water scenes against the light, and for
subjects predominantly red or brown. Tricky to use, but effective
when you learn how.
S-2X and S-4X neutral density filters, to prevent over-expos-
ure on bright scenes with supersensitive or panchromatic film.
These filters may be had mounted individually for the
Cooke 1-inch F 3-5 Filmo Camera lens, at $2.50 each.
Or the pair described in each paragraph is available
mounted together in a metal slide fitting the Duplex
Filter Holder for the 1-inch F 3-5 lens, at $4-50. The
Holder alone, $2.50
Professionals endorse
Cooke lenses by
using them
Professional cinematographers every-
where use Cooke lenses. Only from
hell & Howell can you have these
fine lenses for personal movie cam-
eras. Cooke Telephoto lenses (at
left) are offered for every require-
ment: 2-inch F }.j up to 6-inch F
4.5. One of the most used is the
4-inch F 4.$ at $60 for Filmo to- A
Cameras, or $55 for Filmo 70-D
and js
For full color movies of startling
brilliance
The B & H Cooke i-inch F 1.8 Lens for Kodacolor and
its Kodacolor filter ideally equips your Filmo for finest
quality movies in full natural color. Also, the lens has
the speed for successful black and white shots with the
minimum of light. Complete with Kodacolor filter, as
illustrated (at left), $75. Lens alone, $60
The B & H Projection Lens Assembly for Kodacolor
(not illustrated) is all that is required for showing
Kodacolor movies with any Filmo Projector. The special
lens assembly includes a filter and special condenser.
You have but to replace your monochrome projection lens
with the Kodacolor projection lens assembly to project
color movies of startling depth, clarity, and brilliance.
Assembly complete, $35. Without condenser (for Filmo
Projectors without extra slot), $jo
Correct exposure readings in
ten seconds
The B & H Model A Photometer (at right) is cali-
brated for use with all Filmo Cameras. In 10 seconds,
it gives correct exposure readings on the important
portion of the subject, and while you see the subject.
Easy to operate as a flashlight. Price, $17.50. ($20
with case.)
The B & H Photometer for still photography gives
accurate lens stop readings at shutter speeds from 1/250
of a second to 32 seconds. Price $17.50 ($20 with case.)
BELL & HOWELL ♦ FILMO
Bell & Howell Co., 1843 Larchmont' Ave., Chicago; New York, Hollywood, London (B & H Co., Ltd.) Est. 1907
PERSONAL MOVIE C AMER AS — PROJ E CTORS — ACCES S ORI ES
244
NEW STEWART-WARNER PROJECTOR
Operates on either AC or DC current — 500
watt illumination. Can be stopped or reversed
at will. Complete with carrying
case. An unmatched value at only
%z=zk(ow/ .
pat theatre-like
brilliance in your movies
with the sensational new
STEWART-WARNER
PROJECTOR
$125
NEW STEWART-WARNER
MOVIE CAMERA
Furnished complete with sporty leather-
bound, waterproof carrying case; has a com-
bination of astounding features not found in
any other camera at any price, including 4
speeds — audible film counter— interchange-
able lens mount.
DE LUXE HOLLYWOOD MODEL
$50
NEW STEWART-WARNER SCREEN
Roll-up, Standing Type — permanently at-
tached to case which acts as a base holding
it upright. Aluminum surface £1 2.50; beaded
glass surface S20.00.
COMBINATION OFFER $17C
Projector, Camera and Screen I B fc#
Uses 500-watt lamp— most pow-
erful light available in 16-mm.
film projectors, and has a host
of outstanding features includ-
ing variable speed—stop and
reverse— at a popular price.
It's a real pleasure to show
movies with this Projector which
anyone can thread in a jiffy.
It projects your films on the
screen with a sparkling life-
like reality that you never
have seen, if you're using a
commonplace projector.
For a 500-watt lamp, specially
designed for the Stewart-Warner
Projector, affords a powerful
illumination that has never been
available in a 16-mm. projector.
— And how this projector per-
forms; run it backwards or
forwards at any speed. No an-
noying flickers or shadows in
a reelful. Stop it and show one
film as long as you wish — no
danger of scorching, thanks to
the automatic fire screen which
drops into place automatically
when the mechanism stops.
— A host of other advantages
too — but seeing is believing.
Go to your nearest dealer, and
let him demonstrate what a
wealth of Dependability and
Smooth Performance Stewart-
Warner's great resources have
made available to you at a
moderate price. Illustrated
description of the New Stewart-
Warner Movie Camera, Projec-
tor and Screen for the asking.
OVER
30 MILLION
SATISFIED
OWNERS OF
STEWART
IV A R N E R
PRODUCTS
Movie Equipment Division, MM-6
Stewart-Warner Corporation,
1826 Diversey Pkwy., Chicago, III.
Gentlemen:
Please send me illustrated folder showing the fasci-
nating pictures I can take with Stewart-Warner Movie
Equipment.
Name ,
Address
City. State
□ DEALERS! Check here for details of Complete
Resale Plan.
245
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
IN THIS year of somewhat doubtful grace, most
of us are doing what the circus people call "doub-
ling in brass." Nearly every man and woman has
undertaken an extra job and some of them several
extras. The general sales manager is his own as-
sistant, the assistant auditor is "temporarily in
charge" as chief, the production foreman is doing
a little special machine work. The woman whose
superintendence of her husband's establishment
would normally be limited to conference with the
housekeeper now deals directly with the service
group as her own housekeeper, the secretary does
all of the president's typing, instead of passing it on
to the stenographic room. Presidents have been
seen answering their own telephones, somewhat
furtively, perhaps, and they have jerked their fingers back quickly from buzzer
buttons whose pressure will no longer bring a decorous parade of assistants.
This is all in line with the latest world concept of more work from each in-
dividual workman and this concept, in spite of the social obligations upon us
all to reduce unemployment, is gaining headway every day. We do not believe
in unemployment, to be sure, and we are going to do all that we can to get it
back to a minimum, but we are also going to be mighty sure, in future, that em-
ployment means a maximum effort on the job and that easy berths are gone.
Not only have we been willing to take on extra work and to ask it from those
who work with us but we have begun to make the inanimate world fall into line
with this program. Pleasure cars and business cars are merged in the same piece
of automotive equipment; the country place is kept open during the winter, but
kept open by others than its owner, who are glad to rent it at a nominal figure,
and the reverse is true of the city apartment in summer. The two winter weeks
in the south and the two summer ones in the north have united into three weeks
in the best neutral area for climate and for the most varied diversion.
This coming summer, the wise movie amateur will make his vacation "double
in brass" for him by an intelligent use of his camera. He is more happily circum-
stanced than his nonfilming friends because he can commit his definite memories
to celluloid. After six months, they will have confused Yellowstone and Glacier,
the Grand Canyon and Au Sable Chasm but he will have a clear and accurate
recreation of each thing that gave so much value to his vacation time and he can
pass it on to others, multiplying everything that he enjoyed.
Filming, this summer, will be a definite economy because
it will be storing up a winter vacation that, otherwise, would
probably be missed. Extremists may cavil, as they will, at
the impossibility of capturing the exquisite curve of a moun-
tain stream or the waving sea of grain on a Nebraska prairie
and may demand nature or nothing. Movie makers know
that, with the wizardry of supersensitive film and Kodacolor,
these things can be done and that impossibility is a word that
the movie camera does not know.
More people are going to see their own countries this
year than ever before and it will be a year of backyard in-
vestigation and exploration. The competent and satisfactory
movie camera lies ready for every forehanded vacationist
who is going to make his time off do double duty. Who uses
it will have winter joys to turn on at his own sweet will and
he can justly congratulate himself, six months from now, that
he not only has seen but stored up pleasure in advance.
Double duty
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
MOVIE
MAKERS
©cib ffi*2% <S32
Talking of travel S
PRING again! The army is on the move! A .-»|p-s for better
Itineraries have been planned, reservations
made, wardrobes replenished and the movie I £'l J
cameras sent for overhauling. The lucky traveler IXaVcl riimS^— 3110
n n r\ ' r* v is all set for a summer of joyous relaxation, tense
CLARA L. BROCK wjtn visions 0f the exquisite travel films he will llOW to make them
bring home to delight his family and his friends.
Lest he be doomed to disappointment, let him
repeat — as his enchanted feet march up the gangway or step aboard the train — the
movie maker's creed. 1. I will not panoram unless — after a careful consideration of
the proper use of panoraming — no other means will give the desired results. 2. I will
not place the horizon line in the center of my picture. 3. I will show very little sky
unless I am filming clouds with the proper filters. 4. There will be a foreground,
middle distance and background in every long shot. 5. I will not cause confusion by
having several entrances and exits in the movement of my films. 6. My exposures
will not be a series of still pictures. 7. I will try to express the mood of my subjects
by the intelligent manipulation of light, shade and line. 8. I will remember that
human interest is the greatest interest and that closeups break long shot monotony.
The majority of movie travelers will be veterans in the field, veterans more or less
skilled in the matter of exposure and continuity so essential to good motion pictures,
but have they taken the step beyond technical skill and versed themselves well in that
thing which will lift their picture from the plane of the merely good to the exceptional?
No matter how good the exposure or how logical the continuity, films will be dull
which do not possess the fundamental principles of design — namely, rhythm, balance
and harmony; and, if the filmer has not succeeded in incorporating these principles
into his shots, he has missed an opportunity to wring from his audiences those gasps of
delight which are balm to every movie maker's soul.
Now is the time for him to learn the value of dramatic composition, that even still
pictures have movement created by rhythm of line. He should have a thorough under-
standing of the fact that the proper distribution of light and dark will produce balance
in his shots and that careful handling of these same elements can give new life to any
subject. An hour or two with Ralph Pearson's excellent book, How To See Modern
Pictures, would be well spent.
Some travelers will be moving rapidly over well worn paths while others will go
their own pace to the more remote spots where little has been filmed and the subject
matter itself will furnish new interest. His task will be easy but the speedy traveler
will see only the usual things and must present them in a new and interesting way.
It would be a pity to come home empty handed simply because others have gone and
filmed before, for many of the most exquisite shots of moviedom are familiar objects —
frequently taken on the wing.
Since all travelers eventually land in Paris, let us take that much filmed city for a
further explanation of how to photograph the same old buildings so that the summer
footage will be an inspiration to even the blase holders of travelog season tickets.
Would Paris be Paris without the La Tour Eiffel, Notre Dame, La Madeleine?
Certainly not ! They are the very spirit of the city — the expression of the
creative soul of the French people. Then why come home without them? These are the
things the rapid traveler sees — and very little else — so film them by all means but with
a fresh point of view — a more dramatic composition. The only limit to the new effects
one can achieve is in the imagination of the photographer — in his sense of the dramatic
and his knowledge of pictorial composition and rhythmic movement.
Let us try our hand at the Lorelei of the movie maker . . . La Madeleine, Napoleon's
Victory Temple. The photographer stands at the foot of the steps to the right of the
center. The time is late afternoon and the light comes diagonally from the left. Aim
the camera so that the steps recede slightly upward. Shoot a very few feet of the
empty steps, followed by a shot with people coming from behind the camera at
the left and ascending diagonally across the picture. Their shadows will accent the
movement toward the goal — but what goal? The next shot can be taken higher up,
showing the doorway with its steady stream of people and part of the massive pillars
of the portico. The light and shade will be impressive. These shots are decorative in
composition, dramatic in movement and stimulating in their pattern of light and
dark — but the building has not yet been named. By this time, the emotional curiosity
of the audience will be ready for the answer which will be given from the Place de la
Concorde, where the light and shade, movement and perspective will all point to the
center of interest — that beautiful example of French classical architecture in all its
Photograph by Margaret Bourke-white , wh w home without it recorded in film? [Continued on page 262]
Lourtesy of the French Line ° '
Plumes of passage
fGard
en c
loseu
ps
w. e. McCarthy
Strands of pearls
may be provided by
dew and a spider
■nwood M. Chace
Recording backyard
marvels found easy
and a keen pleasure
WE walk through a garden or a
woodland path and hear the
chirp of a cricket, the hum of a
bee or the song of a locust, we see the birds
and hear their songs at daybreak and at
sunset and we think what happy lives they
have — not a care in the world, nothing to
do but fly around singing in the warm
sunshine all day long. But that just proves what poor observers we really are,
for, while they have no worries as we know them, their lives are made up of work
and sometimes tragedy. All this flying about in the summer sunshine is not,
as we are apt to think, a happy, carefree search for pleasure. Every insect we
see is intent on one thing — food to keep him alive and, with a bird, perhaps, food
to keep his little family alive. Food and a continual search for more food is the
whole life of these apparently happy creatures.
So I say that, as a stimulant to closer observation and a better understand-
ing of these things and a more intimate knowledge of them, there is nothing to
compare with a garden in summer, a movie camera, a six inch telephoto lens,
a visual focusing attachment and two or three extension sections which will add
from half an inch to one and one half inches to the length of the lens barrel.
Add patience to this and the result is astonishing.
Perhaps, here, it would be wise to detail some of the technical points of the
necessary equipment. When my visual focusing attachment was fitted by the
manufacturer, the barrel of the lens was cut in such a way that the barrel of
the attachment was the exact length of the portion cut off. This cut off portion
can be threaded and fitted so that the lens may be used as a regular six inch
telephoto lens, either with or without the focusing attachment.
Most of us think of a telephoto lens as one with which pictures at a distance
may be made to appear as closeups but it has the added ability to make almost
microscopic closeups. Normally a six inch lens can be focused for a distance
of not less than eight to fen feet but, if we add a half inch section to the barrel,
it can be focused on objects from five to six feet away. If we add a one inch
section, the distance from the object to the lens must become much less to be
sharply focused, and, with a one and one half inch section added to the barrel,
objects approximately three feet away can be brought into focus. Of course,
with every shortening of distance from lens to subject, the size of the subject
on the film is increased so that, with a long extension, a comparatively small
insect can be shown filling an entire frame. As a matter of fact, the pictures
become so microscopic in effect that the tiny hairs on the legs of bees or hornets
are plainly visible in the picture, although to see these hairs with the naked
eye, an extremely close inspection would be required. The longer the lens barrel,
the more care must be taken in focusing because a variation of an inch or two
in the distance of the object from the lens throws it out of focus and such
closeups are worthless if blurred. All this sounds extremely technical but
really is very simple in practice.
One other accessory is very desirable and that is a box about eighteen inches
square by six inches deep, lined with black cloth; black flannel will do.
Arrange this so that it can be mounted on a light metal tripod, the highest
procurable and preferably with a tilting head. The reason will be obvious later.
But to get back to the garden, a very small one will do, as mine is only eight by
forty feet, but a great many fascinating and even exciting hours have been spent
there. It all began one Sunday morning when strolling out to look things over.
Every calendula in the bed had a butterfly perched on it and some of them
two and three. It seemed that pictures of some of them would be of interest.
They were not large butterflies, so the half inch extension was inserted between
lens and focusing attachment and pictures were taken with a single flower and
its butterfly filling the frame. The camera was mounted on a heavy, rigid tripod
extended to its full height and pointed down at a sharp angle, care being taken
to select a flower backed by the deep shadows between the plants near the
ground which made it stand out in sharp contrast. Such a background is very
effective as everything beyond the subject is out of focus and forms a soft
mottled "differential focus" effect which in no wise detracts from the picture.
This proved so fascinating that other subjects were looked for and plenty
of them found on the phlox, marigolds, hollyhocks and snapdragons. A big
bumblebee would perch on the lip of a snapdragon [Continued on page 262]
248
249
Significant detail
portrays more than
the general view
BEFORE the amateur cinematographer, there is an end-
less natural field of camera material from which he
may draw at will. Nature, in all her manifestations,
from the kitchen garden to the wide sweep of the Rocky
Mountains, provides interesting material for the amateur
movie camera that will never be exhausted. However, a
scenic film, as such, is largely of but documentary value, no
matter how excellent the photography or how ingenious the
continuity. The usual scenic presents facts rather than im-
pressions.
When approached from a different viewpoint and if seen
with understanding, the same material that makes up the
usual scenic can become a quite different type of film, with
endless, fascinating possibilities. It is difficult to prescribe
how to go about making such a picture from scenic material,
because the essence of the problem is that it be a purely
individual and, therefore, extremely varied method of ap-
proach. However, let us take a sunrise as an example of this
new method. Such a scene, as it might be presented in the
customary scenic, has little meaning in itself. It is simply
a combination of light and shade on the screen. So, instead
of filming the sunrise as we see it, let us first ask ourselves
what particular meaning this sunrise has for us. Does it
mean quiet — the silent birth of a new day? If so, let us film
the things that will convey this meaning to the audience — a
leaf gently swaying, the beads of dew on the grass, the
wisps of fog rising from the ground, the long patterns of
still shadows. The individual cameraman will decide what
meaning the scene has to him and then shoot whatever will
contribute to this meaning, making his selections with the aim
of building up a total effect.
In creating a film of nature that represents the cameraman's
individuality, the importance of selection cannot be over-
estimated. The significant parts of a whole portray the whole
far better than a general view. This may at first seem a
rather sweeping statement but, as we look at a landscape, do
we see it all at once, or do our eyes stray from point to point,
gathering impressions? When we recall that scene to mind,
is not our recollection based on the total of numerous
impressions of details? So, as we use our eyes, we should
use the camera, gathering and selecting detailed material,
emphasizing the significant parts in order to build a vivid
impression of the whole. This inevitably calls for the closeup
HENWAR RODAKIEWICZ
y
To film essential
of scenes
approach
meaning
is basic
clear shallow water. He
may stand below a small
waterfall and catch the
rushing, curving edge
of water pouring down
toward the camera in a
[Continued on page 262]
Something more than scenic
Dr. J. B. Pardoe, Courtesy of The Ca>ner<
and often the extreme closeup, because it is only by bringing
the camera closer that we can exclude the unnecessary and
emphasize the detail. But, unless the closeup is combined
with selection, it will not have meaning. A mere series of
indiscriminate closeups will not make up a composite whole.
Such a series might present nature from the viewpoint of an
ant, but there would be no cumulative effect. In order to
present his reaction to the scene, the cameraman must care-
fully choose only those shots that have definite bearing on
the whole. Let us suppose that the cameraman is up in the
mountains and that the day is crisp and clear, the air cool
and invigorating. He wishes to preface a sequence with a
title that calls attention to the coolness and the quality of the
air. Will the audience let this go unchallenged if the camera-
man does not convince them that it is really cool? He cannot
film heat or cold, but he can symbolize it on the screen and
create the impression in the mind of the audience. He looks
at and studies the scene. There is a pine tree separate from
the rest, standing at the edge of a stream. The tree sways in
the breeze, the stream tumbles at its base. Behind it are a
rich blue sky and fleecy clouds. It would make a good shot
with good composition. But this is not enough for the pur-
pose. With the aid of closeups, the symbolization of coolness
could be made much more convincing. The cameraman
comes close to the tree. Beneath it, at certain angles, the
pine needles catch the sun in shafts of splintered light. He
stops the lens down, making the sky rich and dark, the needles
black beneath, with a glittering, interweaving pattern above.
Next, there is the trunk. As he stands close beside it and
looks along its length, it describes rhythmic arcs against the
sky and this impression is added to the film to form a part
of the whole. Next comes the stream. In closeups, the
cameraman will catch the sun playing in patterns of eddies,
the smooth slapping of the water over worn rocks, its sudden
breaking over sharp obstacles and the reflections on the
sand as seen through the
Dougrlas of R. I. Nesmith and Associates
Careless focusing
prevents the crisp
detail shown above
THE manufacturers, both of cine films and cameras, have been exerting
all efforts to make amateur movies as foolproof as possible for the en-
thusiast but, as in any pursuit where the human element enters into the
consideration, there is the possibility of error. Any recognized amateur movie
camera is the product of careful technical design, manufacture and inspection
and will not cause the user any mechanical difficulty if it is afforded the slight
care required in the way of oiling, cleaning and properly threading the fiim.
Movie Makers, Filmo Topics and Cine-Kodak News are doing valuable work
in assisting the amateur movie maker by reviewing points brought out in the
instruction booklets accompanying all movie cameras, but the author felt that
it would be interesting to learn just what errors were most common. He wishes
at this time to acknowledge the assistance given him in preparing this article
by both the Eastman Kodak and the Agfa Ansco processing laboratories. In
addition, the author has reviewed, during the past few years, some 50,000 feet
of typical amateur films, so the information given here may be considered a
year around average. The items are listed as nearly as possible in the order of
their most common occurrence.
It may come as a surprise to some amateurs to know that fogging at begin-
ning and end of reel ranks with underexposure as the most common fault.
Carelessness in loading produces this fog which is recognizable as white trans-
parent patches at the beginning and end of the film. These markings disappear
further into the film. Although but a few feet are spoiled in a roll, this footage,
totaled over a year's time, would amount to a good deal. Care should be taken
to leave the lower half of the container over the unexposed reel until after it has
been inserted in the camera. The same precaution is advocated when removing
the exposed film. Because cine films are daylight loading, the user has the ten-
dency to be a little too free in handling them and is prone to unloosen more
of the leader than is necessary for threading, thus depriving the film of so much
protection and letting light get down between the edges of the film and reel,
which needs a certain amount of "play" to allow the film to unreel easily when
the camera is in action. Many amateur operators also have the inclination to
open their cameras to remove the exposed roll as soon as the footage dial
shows 0 or 100 feet, as the case may be. On removing the cover, he naturally
finds the protective trailer has not been wound over the exposed film — conse-
quently the end of the reel is fogged. It is particularly necessary to be careful
in handling the new supersensitive film because of its extreme speed.
Almost invariably the beginner will underexpose his first film. He finds it
a little difficult to gauge accurately the photographic value of light and, as the
actinic value of light is less than it appears to the human eye, the movie maker
overestimates it. Setting his lens accordingly, his film is too dark, or under-
exposed. This is particularly true of exposures made comparatively early in
the morning and late in the afternoon when the light is quite weak in actinic
value although it appears brilliant. Modern processing methods help to correct
this and present day films allow quite a latitude of exposure but a few test
shots on different subjects at different times of the day and a record kept of
the exposures will materially assist the amateur in judging true light values.
The next most common difficulty is camera movement during exposure. It
is common knowledge that professional cameramen use quite heavy tripods.
The idea, of course, is to overcome any movement and to absorb the vibration
of the camera itself. The more steadily it is held during the exposure, the
sharper the picture will be. With the amateur type of camera, which is held
in the hand, this point is very often neglected. When filming with the camera
held in the hands, a conscious effort should always be made to hold the camera
steady. Because of the high degree of magnification in projection, the slightest
move in the camera detracts from the projected picture and makes it jumpy.
Panoraming or "panning" was not advised formerly but apparently every
one prefers to do so; therefore, the operation should be carried out very
slowly and steadily. When the side move-
ment is done quite speedily, the images on
projection seem to dash across the screen.
Sometimes the camera lens has also been
used like the end of a garden hose, with the
result that when viewed, such shots are
... extremely uncomfortable and trying to the
DV rllm prOCeSSerS eyes and, as a [Continued on page 264]
Common mistakes
amateurs as seen
film processers
of
KENNETH F. SPACE
To err is human —
//
250
251
"So you're going abroad^^k
CLARA E. LAUGHLIN
A calendar for the
filmers who plan a
summer in Europe
TRAVELING half of every year with a
movie camera and talking all the
time with people who are going to
travel and moet of whom are going to take
movie cameras has given me a double in-
centive to learn where and when the most
interesting movie possibilities are to be
found. Only a few people plan their trips
primarily to get exceptionally interesting movies ; but a great many people find
it possible to arrange their schedule so that, instead of just missing thrilling
picture opportunities, they get to many places at exactly the right time.
In Great Britain, this summer, for example, every movie enthusiast who is
there on June first will try for typical and for unusual "bits" at the Derby.
June 3rd, he will have some vantage point for which he has maneuvered at the
Trooping Of The Colour on Whitehall Parade in honor of King George's birth-
day. The next day he'll be out at Eton for Speech Day. June 15th he'll be at
Runnymede for the picturesque ceremonies of Magna Carta Day. And dawn
of June 24th may see him at Stonehenge on Salisbury Plain to see the repetition
of the ancient Druid ceremony hailing the sun on midsummer morning. If he
can, he'll be at Tara for the Tailteann Games at the end of June. And he'll hurry
back to Battle Abbey for the reenactment of the Battle of Hastings by 7000
participants, which takes place July 2nd to 16th, probably stopping on his way
from Ireland at the Isle of Man for the ancient Tynwald ceremony. On July
12th, he's bound to be in London for the Vintner's Procession in Upper Thames
Street and see the wine porters sweep the roads before the masters and wardens
of the company as they have done since 1205. A week later, he's on the Thames
to film the ceremony of marking the swans by the Vintners' and Dyers' Com-
panies. If he's in the Lake District on July 30th, he'll be at Ambleside to get
pictures of the Rush Bearing, commemorating days when all floors were strewn
with rushes. Whereas, if he's in Ireland, he'll be at Croagh Patrick in County
Mayo to see thousands of pilgrims crawl on hands and knees to the mountain top
from which St. Patrick prayed and banished all snakes. There are some who
wouldn't miss getting pictures of a Sheep Dog Trial. This summer, especially,
many will be bound for the gatherings of the clans which will have unusual
features to commemorate the 100th anniversary of Sir Walter Scott's death.
In Florence, June 24th, the movie cameras that whirr in the grand old Piazza
della Signoria in front of the Palazzo Vecchio and the Loggia dei Lanzi will
record a football game with players in sixteenth century costume and many of
the spectators representing the nobles and the famous corporations of Renais-
sance Florence. July 2nd they'll be at Siena for the incredibly picturesque Palio,
the mediaeval horserace, when the clock turns back five centuries. The next day,
at Venice, is the procession of the Redentore from St. Mark's over a specially
constructed bridge across the Grand Canal to the Church of the Redentore on
the Giudecca. There's a "Pardon of Assisi' Aug. 1st and 2nd, a gorgeous cos-
tume display at Debbiace in the Dolomites on Aug. 15th, a colorful grape festival
at Luine in the Italian Lakes on Aug. 27th and many, many more things of
which movies should be made.
Austria has a fine calendar for the movie maker. The Summer Solstice
celebrations in the Tyrol and in the Wachau (the Danube west of Vienna) bring
out splendid costumes and most interesting pageantry.
The great time in Hungary is the fortnight in midAugust, of which St.
Stephen's Day is the center, when all the gorgeous costumes of Magyar nobles,
peasants, gypsies and clergy, pour out in bewildering splendor and every dance,
play and pageant is in full swing. Any Sunday at Mezokovesi will be wonderful
in display of unbelievably quaint costumes.
Prague will be a paradise for cameras in early July when the Sokols are in
progress, the gymnastic Olympiad of the Czechs, to the accompaniment of all
the opulent old costuming of the country and the patriotic revival of quaint
old customs. If you can't manage this date (which every movie maker will find
is worth making a big effort to do) , try any Sunday in the neighborhood of Brno,
seventy eight miles north of Vienna near the southern border of Czechoslovakia.
June 6th is Swedish Flag Day, picturesquely [Continued on page 268]
Although Movie Makers' policy is to use "exclusive" articles only, the above
calendar is being published simultaneously ivith and through the courtesy of
Filmo Topics, in view of its unique character and timely value to cine travelers.
Fast film will catch
the charm of night
in a great capital
Publishers, courtesy Bell & Hovn
Copyright, John H. Ahern
From actual filming
to final editing, a
script is invaluable
Jk MATEUR movie filmers are using scripts more than ever before, for
MJk not only are they useful in photoplays and film stories but they are
0 % valuable guides in scenic films, vacation pictures and in publicity and
industrial pictures. No welfare film should be made without a treatment and per-
sonal films in general are much more interesting on the screen when one is used.
Although based on photoplay scenarization, most of the points in this article
apply equally well to script preparation for other films. In discussing the
preparation of the script, it will be assumed that the plot has been devised and
elaborated into the synopsis or running story of the action it is desired to depict.
It is during this period that the elementary plot action should be built up.
Properly, the next step is the preparation of a treatment. This differs from
the synopsis in that it resolves that story into photographic components. Instead
of writing that "Mary Belding finds herself on the horns of a dilemma; she
must make her choice between John Jones and Henry Harper and, for the life
of her, she cannot tell which one she loves best," the treatment opens with:
"Mary is greeted on the porch by Henry. They are going motoring. They get in
the car. As Henry is busy with the starter, John appears. Mary maneuvers to
have John included in the trip, much to Henry's disgust."
Later on, in the script, this appears: "1. Medium view of the porch.
Henry enters. Mary comes to greet him ready for the ride. Henry points toward
camera. 'Shall we be going?' Mary assents. They exit toward camera. 2. Street.
Medium shot of street and road with car. Henry and Mary enter. Henry helps
Mary into car. Goes around to other side and gets in. Ready to start. Trouble.
3. Close shot of Henry over the dash looking at the dials. 4. Full shot of street.
John coming toward car. Mary sees and waves. John hurries toward her. 5.
Medium shot of car. John comes in as Henry straightens up. They greet each
other none too cordially. 6. Closer shot. The three talking. 7. Close shot of
Mary moving over to make room for John. She looks appealingly at Henry. 8.
Closeup of Mary and Henry to catch her expression and his. 9. Back to larger
scene. John gets in. All exit."
That makes nine scenes and it but partially expresses the first half of the
premise. It is followed by several shots inside the car. There is a stop at some
point where Henry goes to get water for the radiator. John proposes and Mary
seems on the point of melting when Henry's appearance causes her to hesitate.
Then there is another sequence in which Henry does the proposing and John
appears and causes the hesitation.
Or, if the production length is short and the story is long, one can get it
over with a subtitle in this fashion: "1. Porch. Mary and her mother and
father on. Henry enters, invites Mary for a ride. She eagerly assents. Exits
with him. Mother and father exchange glances. 2. Medium shot of car at the
curb. Mary and Henry enter scene. Get into car. John enters and greets them.
Mary moves over. 'You come, too.' 3. Distant shot (from porch) of above scene.
4. Medium shot on porch of Mary's mother and father. Mother speaks. Title.
T believe Mary can't make up her mind between those two boys.' Back to scene.
Father nods. Looks off. 5. Distant shot, as in 3. Car out of scene with the trio."
From all of which it may be gather-ed that a plot tells the story in narrative
form, the treatment resolves this into plot action which, in turn, is broken down
into the actual scenes.
This does not mean that the amateur, in preparing the script, signs a devil's
contract in his own blood to follow that exact plan of action. It means merely
that he follows along those general lines. It is a foundation, but with a certain
elasticity, dependent upon the time and place in which the action may be filmed.
The value of the treatment is dual. It tests out the dramatic possibility of the
idea and it permits a comparison of the various sequences for relative effect.
In the treatment, each series of actions leading to a crisis is made into a
sequence. These crises may then be compared for the effect on the average
spectator. If it is found that an early sequence is too highly dramatic for that
stage of development, the action can be
toned down to proper proportion. In the
best stories, there are no violent altera-
tions of high and low points. Each se-
quence should lead to a crisis and these
crises should represent an ascending scale
of dramatic values. Each crisis should be
TlCr S Pl3n more marked [Continued on page 270]
How liberal use of
penci
il aid;
story fil
the
plan
EPES W. SARGENT
Breaking down the plot
252
253
Amateur cl
ARTHUR L. GALE
Richmond ■ The ^rst Pr°gram of the newly organized
Amateur Motion Picture Club of Richmond,
Calif., met with enthusiastic response. J. J. Fischer, member
of the San Francisco Cinema Club, talked on movie technique,
illustrating his points with films. The second meeting was
devoted to natural color movies. Jack Lee is temporary presi-
dent and the following temporary committees have been
appointed: program committee with Cecil Moore, chairman,
William Follett and John Pierce; nominating committee with
Fred LaMoine, chairman, A. R. Moffett, Dr. C. R. Blake,
A. C. L., Wayne Westover, Ed Heltzen and J. C. Walker.
Labrador birds ■ The feature of the most recent meeting
of the Maine Amateur Cinema League
in Portland was the projection of films of Labrador birds,
made last summer by Dr. Alfred 0. Gross of Bowdoin College,
president of the club, and Thornton Burgess. The program
was presented after a special dinner meeting. This new Port-
land club already has thirty four active charter members.
Benefit ■ The Shadow Crusaders, production unit in
Greenwich, Conn., netted $350.00 at the public
presentation ef their film, The Floating Hat, given for benefit
of the unemployed. Approximately five hundred attended the
premiere. Production of the next film, to be titled, The Moon
Express, is planned to begin next month. The story was writ-
ten by George L. Aiken who will direct the picturization.
Peoria ■ 1° Peoria, 111., the Movie Club is making a co-
operative film, Interesting Facts Of Peoria, which
is to be interspersed with shots of current events in the city.
At a recent meeting, Arthur L. Epstein addressed the club
on lenses and new movie equipment was demonstrated.
Kansas City ■ The hatest program of the Cinema League
of Kansas City, Mo., featured the screen-
ing of a 400 ft. Kodacolor film made by P. C. Baltz, the pro-
jection of demonstration films made at a previous meeting
with photoflood lamps and the demonstration of sound on
film projection equipment. Previous meetings offered a screen
demonstration of the new supersensitive Kodacolor, the pro-
jection of a film study of New Orleans by T. Paul Humphrey,
A. C. L., experiments with the photoflood lamp, conducted
Imposing set in big
hotel used for new
White Sulphur film
Latest news of
group activities
and photoplays
by C. N. Moulin and
P. C. Cook, a discussion
of title making and the
screening of a 400 ft.
Kodacolor picture of
Yosemite Valley filmed
by Mary C. J. Coulter.
The club's production
committee is planning a film study of Kansas City to be
made this summer. Dr. A. H. Cordier is honorary president;
E. M. Critchfield, A. C. L., president; Harland Hutchins,
vice president; Edward J. Tweed, treasurer; A. W. Lewis, sec-
retary. Meetings are held at the Kansas City University Club.
Medford ■ A group of eight enthusiasts have formed
an amateur movie club in Medford, Oreg. At
the first meeting, the production of industrial films was dis-
cussed and members' films and subjects from the League's
Club Library were screened. Among the offerings was the
photoplay, Dreams, produced by H. D. Kem. W. Bernard
Roberts, A. C. L., is president of the informal group.
Berkeley ■ ^ ta^ by Sigismund Blumann, editor of
Camera Craft, and short addresses by repre-
sentatives of the movie clubs of San Francisco, Oakland and
Richmond were the features of the organization program of
the Amateur Movie Club of Berkeley, Calif., attended by the
biggest gathering of Berkeley cine enthusiasts yet held.
Other features of the program were the demonstration of
sound on film projection and the reading of congratulatory
letters. Harold L. Hock, A. C. L., is chairman of the organiza-
tion committee which was sponsored by Berkeley dealers.
San FrancisCO ■ Recent features of programs of the
Scientific Section of the Cinema Club of
San Francisco have been the projection of a medical picture
made by Dr. George F. Calvin and Roland Calder, a talk on
making surgical pictures, accompanied by the projection of
"two color filter" Kodacolor pictures made by William A.
Palmer, the screening of Kodacolor scenics filmed by C. O.
Tufts and of The Making Of A Porcelain Crown produced
by Dr. J. R. Gill with the assistance of Mr. Siller. Recent
programs of general interest [Continued on page 267]
Greenbrier Amateur Movie Club
Swan, courtesy U. S. Forest Service
The government now
teaches forest fire
prevention with film
Business ■ The Research Department of the United States Pipe and Foundry
Company, Burlington, N. J., has recently completed a 400 ft.,
16mm. reel showing the processes in casting iron pipe by centrifugal force,
preparation of the moulds, melting of pig iron and actual casting being present-
ed in detail. ■ Animated diagrams explain the action of the furnace. Additional
films are planned. ■ The story of the distribution of seventy five miles of twenty
inch steel pipe over the mountains of West Virginia was recently filmed by
Robert C. Surridge, A.C.L., for the George Transfer Co., Inc., of Baltimore.
The picture shows how difficulties of hauling and placing the pipe through the
mountain forests were overcome. Mr. Surridge followed this with a film of the
laying of the pipe underground by Ligon and Ligon, contractors of Baltimore.
Another 16mm. film he made for Ligon and Ligon records the firm's work in
laying an underground conduit in the streets of Baltimore for the telephone
company there. ■ To advertise citrus fruits for Indian River Products Company,
Edward C. Niedt, A.C.L., of Vero Beach, Fla., is making a 16mm. picture which
will cover the care of the trees and picking and packing of the fruit. B Films
recently made by L. D. Houlis, A.C.L., and B. A. Evans, showing the engineers'
meeting of the Bakers' Convention, will be screened at several bakers' conven-
tions this year. ■The history of a mine's discovery and development in the
Canadian wilderness is shown in a 2000 ft., 16mm. picture made during the last
four years by C. Augo Petersen, A.C.L., of Flin Flon, Canada. The film records
the discovery, construction and plant operation of the Flin Flon Mine, operated
by the Hudson Bay Mining and Smelting Company, Ltd. ■ In Jackson, Minn.,
Joseph E. Matuska, A.C.L., is making a film to publicize the services of a
modern lunch room. ■ "There is no doubt but that our motion picture adver-
tising has done a great deal toward making this sales record possible," says
G. W. Stout, advertising manager of the Perfect Circle Company, Hagerstown,
Ind., makers of automobile piston rings, commenting on an increase of twenty
three percent in the company's 1931 business over that of 1930. This company
employs a 16mm. talking film, The Magic Circle, and much interest has devel-
oped regarding the methods used in making the film, arranging showings and in
accomplishing definite sales as a result of these showings. A monograph called
The Perfect Circle Plan has been prepared and will be sent free to business
executives contemplating the use of talking films in sales promotion work. A
copy of the monograph can be had by writing the Industrial Division, Bell &
Howell Company, 1801 Larchmont Avenue, Chicago.
Civic M To publicize fire prevention work of the IJ. S. Forest Service, R. P.
Ewing, A.C.L., New York City, working in cooperation with K. D.
Swan of the Service, Missoula, Mont., has, with the assistance of Frank Foltz,
completed Red Hell Of The Kaniksu, 400 feet, taken in the St. Joe, Kootenai
and Kaniksu National Forests and a scene from which is shown above.
Medical ■ Antimalaria research undertaken by the Ross Institute, a British
organization working in the tropics, was portrayed by a 16mm.
film taken by a member of the Institute and recently shown in London, it is
reported. The film depicted the evolution of the mosquito from the larva stage
and showed how the malaria spreading insect is identified. Areas which once
were death traps were shown as prosperous agricultural or industrial centers,
the change being due to the successful combating of the mosquito by the Ross
Institute. ■ The Making Of A Porcelain Crown, 1600 feet, 16mm., produced by
Dr. J. R. Gill to instruct students of dentistry at the University of California,
was recently shown before the Scientific Section of the San Francisco Cinema
Club, according to Amateur Cinema News, monthly paper of that organization.
Representing Dr. Gill's first attempt at utilizing motion pictures for teaching
purposes, the film is reported to be a distinct success. Unique shots, taken by
means of a large dental mirror in the patient's mouth, show the back of the
front teeth as well as their front. Perfect
illumination and definition were secured.
B For photographers doing medical, dental
and biological photography, the Biological
Photographic Association is publishing a
journal, the initial issue of which will be
mailed September first. The purpose of the
Journal is to [Continued on page 269]
B
usmess, civic,
medical, school
and other uses
LOUIS MILLER BAILEY
Educational films
254
255
A thesaurus of tricks
JOHN BEARDSLEE CARRICAN
Some camera stunts
compiled to please
lovers of cine fun
Human flies ■ If a
per-
son crawls on his hands
and knees with the cam-
era directly over him
and pointing straight
down, the effect pro-
duced on the screen is
that of a man crawling up the face of a vertical wall. If the
subject crawls on a brick street, with the camera properly
following overhead, he will seem, on the screen, to be climb-
ing a blank brick wall. The wall of a room can be imitated
by putting wallpaper on the floor, with pictures appropriate-
ly placed on it, and then following the same technique. If
the subject pretends to be having great difficulty to crawl,
in any of these examples, the resultant effect will be greatly
heightened. Variations of the plan can be secured by having
a child creep across the chosen background, having a dog
or cat walk across it or by rolling a ball over it. For such
scenes, the camera can be mounted on a tall step ladder at
such an angle that no part of it will be visible when filmed.
Window WOnderS ■ If a larSe window or glazed door
on the ground level can be utilized
(even an automobile door will do), some unique effects can
be secured. The glass should be well polished so as to be
invisible. Take a closeup of a person through the glass with
his face but an inch away from it. Then have him suddenly
press his nose and forehead against the glass. The screen
result will be ludicrous and few will guess how it was done.
It will also throw the audience into momentary consternation
if a picture is taken, through the window, of someone sprin-
kling the garden and if, without warning, he turns the hose
on the window. When the spectators see the water seeming to
come straight toward them from the screen, there are few who
will not duck and express their startled reaction vocally.
Cine magician ■ The stage magician who removes unex-
pected articles and animals from an
empty silk hat can be far outdone by means of the cine
camera. To make such a trick reel, place the camera on a
firm tripod. The magician is then filmed as he performs the
customary "mumbo jumbo" over the empty hat. At a given
signal, the camera is stopped and the magician holds his
exact position. An assistant then places a chicken or other
object in the hat. The camera is started again. The magician
"Shadow folk," an
illustration of the
shot outlined above
takes up his movement where he left off and produces the
object from the hat. Or several things can be placed in the
hat at once and withdrawn one at a time. The process can be
repeated as long as it proves amusing. On the screen the
action will appear continuous and many wonders can be per-
formed by a totally inexperienced magician.
Shadow folk ■ The illustration on this page suggests the
trick shot which can be secured on a bright
day by shooting down at a sharp camera angle on moving
figures, the hour being such that the sun is low in the sky
and the shadows cast before them are long and weird.
Distortion ■ The fat can be made lean and the short
appear to be tall if a distorting lens is placed
over the regular camera lens. Similar effects can be secured
without this special accessory by shooting through the bottom
of a glass tumbler which is not too thick and which is without
decoration. Revolving the glass while shooting will add to
the weirdness of the effect. Be careful not to allow the direct
sunlight to fall on it. Likewise, experiment will show other
amusing results which may be secured with crystal balls,
paper weights, glass dishes, etc. Incidentally, there is reason
to suspect that some of the artistic effects in the films which
have been hailed as outstanding examples of cinema art were
obtained by some such simple means.
Changelings ■ ^ *s diverting to have a person walking
down the street in one costume and sud-
denly appear in entirely different clothing. The changes from
a racoon coat to a swimming suit or from formal afternoon
dress to a tramp costume are startling and amusing instances.
With the camera set up steadily, the subject stops on signal,
his foot positions are marked, he changes costume, takes up
the marked position and the camera is started again. A
modern variant of Cinderella's rapid change act!
Ship shots ■ ^ y°u want t0 suggest that a film is made
aboard a ship although the camera may be
high and dry, it can be done by tipping the camera slowly
from side to side. Such effects are convincing, however, only
if there is no point of reference which would contradict the
illusion. Consequently, this trick is chiefly useful with real or
simulated interiors which have been given a nautical touch.
The result can be exaggerated by having the subject lean from
side to side slowly while the [Continued on page 270]
Douglas of R. I. Nesmith & Associati
256
New products make
it easy for indoor
summer filming
Jk S WE review last year's crop of
A^L shots ami bewail those under-
f % timed scenes at graduations,
weddings or other June interior events,
where we took a chance, rather than to
miss them completely, we may look for-
ward with confidence to the same situa-
tions beautifully recorded this year with
the same camera equipment. How? Simply with faster, more fully sensitive
film and new, more flexible light sources which have brought the camera up to
date during the past year without necessitating any mechanical change at all.
True, there is still a lower limit of illumination beyond which even the
highly efficient supersensitive film will not record; but this film does bring
within the range of satisfactory shooting all of those shots which have
heretofore been so tantalizingly near and yet so hopelessly far. Generally
speaking, special illumination at official school functions is not practi-
cable. Therefore, the speed of the film will have to be depended upon to do
the work. While such functions are rather difficult to classify in terms of
amateur cinematography, they do take place usually under three general
conditions, as follows: 1. out of doors; 2. in large, well lighted halls, usually
gymnasiums; 3. in chapels or cathedral like auditoriums which are dimly
lighted by stained glass windows or subdued artificial lighting, or both.
For out of door functions in daylight one is, of course, guided by the
general rules governing the particular condition prevailing but it might be
advisable here to suggest that supersensitive panchromatic film with a suit-
able filter be used entirely and that long shots, nicely balanced with a bit
of sky or other background, be included to round out what might otherwise
be a rather lifeless film. Back lightings under such conditions are often
surprisingly effective; hence, a good lens shade should be available and
used. If the graduation exercises are held out of doors at night, it is probable
that the stage will be well enough lighted in most cases to give ample ex-
posure on supersensitive panchromatic film at large lens apertures and
normal speed. A dependable exposure meter should, of course, be used as a
guide wherever possible and particular care should be observed to make sure
that no light source is shining directly into the lens or that no exposure meter
reading is made under such unfavorable conditions.
Gatherings of this sort generally limit one's ability to move about with
freedom ; hence, a variety of lenses of different focal lengths is desirable for
the daylight shots. With the longer focus or telephoto type, one may record
detail action on the platform or secure closeups of prominent individuals.
With a shorter focus and consequently wider angle lens, one may often
balance the brilliant center of interest against the dark, poorly illuminated
background of audience and thus secure a definitely interesting and dramatic
effect, giving life and contrast to the finished film ; to its general betterment.
Out of door events connected with graduation generally include athletic
meets and alumni gatherings — rich fields for securing better than ordinary
records. The reserve speed of the new supersensitive panchromatic film
makes wider use of filters possible; hence, a shot up from the ground at a
pole vaulter clearing the bar against- a background of billowy clouds is well
within reach of even the simplest equipment under ordinary outdoors day-
light conditions. Other bits of detail will suggest themselves and, perhaps,
previously taken events may be shot again on the new film with a decided
improvement in results and a corresponding rise in audience acceptance.
For closeups of long lost alumni friends, it is generally a good idea to use
a background which is not too "busy," that is, one in which there is not too
much distracting detail. As a rule, a plain wall, slightly out of focus, or
even the open sky are examples of good background selections for closeups.
Certainly, spotty backgrounds or the inclusion of other objects in motion
are to be avoided; otherwise, the effectiveness of the film will suffer.
Usually, in making films of this type, one wishes to include some pic-
tures of familiar campus landmarks. Here the full possibilities of the new
film, plus filters, plus a good sunshade may be drawn upon to give value and
dignity to an intrinsically uninteresting subject. A dingy building photo-
graphed against a back light (requiring a sunshade) and with a well bal-
anced, cloudy sky background (requiring a yellow filter) and further,
perhaps, framed by a few overhanging branches of a tree in the near fore-
ground may well become, on the film, the outstanding shot of the whole
sequence. Such possibilities are literally endless and the results are limited
only by the alertness, powers of observation and imagination of the indi-
vidual which, after all, are the final factors. [Continued on page 269]
Virgin Diamond Syndica
Such closeups, made
with photofloods,
enhance bridal films
CARL L. OSWALD
June boon
257
The clinic
RUSSELL C. HOLSLAG
Technical comment
and timely topics
for the amateur
Correction ■ This is a term which is
somewhat loosely ap-
plied to the results gained by the use of a
filter in an effort to make the picture, as
seen on the screen, equal, in tonal values
of black and white, the impression re-
ceived by the eye when actually looking at
that scene. In other words, the film "sees"
the scene differently than does the eye and the correction referred to consists
in using a filter to hold back certain colors which the film sees more keenly. Such
colors, or light wave lengths, are said to be more actinic and this is especially
true of the light which gives to our eyes the sensation of the color blue. With
ordinary film, this color will affect the emulsion strongly and will tend to become
overexposed before the other colors have a chance to act properly, so one of
the basic functions of the filter is to hold this strong color back and to give the
weaker ones a chance to act. Inasmuch as sky, when included in the picture,
reflects a lot of blue into the lens, such a correction finds its best application
where a large area of sky is included. Using a dense filter, almost all of the
blue of the sky can be held back so that, in the picture, it will look almost
black. Inasmuch as a black sky is rarely seen in nature, by the use of such a
filter, what is termed overcorrection would result. There is a certain novel effect
in a dark sky but the beholder soon tires of it and it should not be overdone.
With light objects which it is wished to outline against a dark sky, as in the
accompanying illustration, the effect is more legitimate as it aids in composition.
Random shots ■ Supersensitive film may be said to be "self filtering" to
the extent that its sensitivity to blue is not out of propor-
tion to its sensitivity to other colors. This is, in fact, one of the achievements
which have been realized in this emulsion. ■ With supersensitive film in the
camera and a fast lens in its turret, many an amateur is tempted to shoot a
picture of the June moon. It looks so big and round up in the sky and so bright
that he is sure, with the lens wide open, that there is light enough for an ex-
posure. And so, indeed, there is, except that, in the resulting picture, the image
of the moon will be very small — almost a pinpoint — and the surrounding area
will be black and without any detail. A telephoto lens would be more suitable
for such a subject. ■ Remember that seascapes and scenes taken over water call
for a small stop. On a bright, sunny day, when at the beach or boating, it is
almost impossible to underexpose so keep the aperture small — //8, //ll or //16
had better be used. Filters help, too. ■ Now that the season of brilliant sun-
shine is at hand, be careful about loading film, particularly supersensitive.
Don't load the camera in full sunlight but seek the deepest shadow you can
find. Even if out on the unshaded desert, at least turn your back to the sun.
Stunt of the month ■ Here is a stunt that I found to be a most interesting
"time killer" and which turned out to be a novel
movie that never fails to mystify audiences. First, secure a jigsaw picture puzzle
This is usually a colored scene pasted on thin board and then cut by a jigsaw
into a thousand irregular shapes. After you have had the fun of assembling
the picture (which may take some time), you are ready for the stunt. Arrange
the puzzle horizontally so that the camera will be pointing down vertically,
directly above it. Center the puzzle just as you would a title, with the difference
that the puzzle should be placed so that it is upside down with respect to the
camera. Now, with the camera running at half speed, shoot a couple of feet,
then remove the sections of the puzzle, piece by piece, as rapidly as possible.
If you do a little accidental fumbling in your hurry, the effect will be even
more comical. Work from the outer edges to the center, leaving the last piece
remaining in the middle. Then, when the film is turned end for end after
processing, it will exhibit the effect of a difficult jigsaw puzzle being solved
with amazing rapidity and precision. A more mystifying effect could be gained
by the use of stop motion in which each piece is removed and the camera run
for just a few frames between each operation. Reversed, this would show the
pieces magically appearing in place. In any case, the camera had best be held
on a firm support, such as a tripod with tilting head, or a stepladder. The idea
has many variants and is most effective when made part of the action of an other-
wise ordinary film. — Col. Robert Whitfield, A. C. L. [Continued on page 270]
An overcorrected sky
is a fine background
for lighter objects
James Doolittle, courtesy International Photograt
258
JUNE 1932
The Increased Facilities
in these con
CINE-KODAK, MODEL K
CINE-KODAK K, finished in black, blue, or brown genuine
leather, with /.i. 9 lens, $1 50; with/3.5 lens, $1 10. Com-
bination carrying case included.
1*
THE 4l/2-inch,f.4.5 Telephoto Lens
acts like a powerful telescope. It en-
larges the image on the screen four and
one-half times the width and height
permitted by the 25 mm., f.1.9 lens.
Price, $60. 3-itich Telephoto Letts, $45.
THE 15 mm., f.2.j Wide Angle Lens
is useful for making indoor movies
in small rooms, or filming outdoor
subjects when you want more area to
appear on the film. Price, $45.
BY merely pressing a button while
the motor is running you double
the exposure time. Hence it is possible
to make clear, detailed movies when
light conditions would otherwise pre-
vent them.
YSetter movies. ..m
conveniently. ..a
moderate cost
REMEMBER the thrill when you fl
^ your first movies on the screen? <
bad, or indifferent . . . those pictures s«
perfect to you then.
But as time went on you became in
ingly critical. Average results no longer
fied you. You wanted facilities for mak
greater variety of movies. Telephoto
Kodacolor movies, wide-angle views, i
home shots at night.
Now, these facilities can be readily obi
at moderate cost, in Cine-Kodak K. F
stance, this camera has an interchanj
lens feature that permits you to switch
your/ 3. 5 lens or/. 1.9 lens to the 1 5 mm.
Wide Angle or the 3-inch or 41^-inch,
Telephoto Lens . . . easily, instantly. It
half-speed device, two finders, and othe
tures for increased facility, greater
venience.
Its companion projector, Kodasco]
offers equal opportunities for improvir
projection of your movies. It has a nev
proved optical system with a special 26c
lamp for maximum brilliance ... a remar
efficient cooling system. It projects Koda
movies as well as black and white.
Read the features of these companion
on this page. Then, check their perfon
at your Cine-Kodak dealer's. Both Koda
K and Cine-Kodak K may be purchased
your dealer on easy terms.
EASTMAN KODAK
ROCHESTER, NEW YORK
MOVIE MAKERS
259
ouve wanted are yours...
>c>>
;>anion "K s
d.
KODASCOPE, MODEL K
KODASCOPE K (100-125 volts,
A.C. or D.C.) is equipped with a
2-inch lens for maximum black and
white picture brilliance. The com-
plete outfit includes carrying case,
two 400-foot reels, humidor can,
extra lamp, film splicing and oiling
outfits. Price, $175. Model K, with-
out carrying case, $160.
Rewind release and
brake assures film
being rewound
tightly on the sup-
ply reel.
Receptacle for plug-
ging in a room lamp.
When Kodascope
lamp switch is on,
the room light is off.
Control panel where
most of the impor-
tant operating con-
trols of the "K" are
at your finger-tips.
Lenses of various fo-
cal lengths and the
Kodacolor Unit are
quickly inter-
changeable.
Ammeter, indi-
rectly illuminated
during projection,
indicates lamp
amperage.
Hinged door to
lamphouse makes it
easy to clean con-
denser— replace
lamp.
258
JUNE 1932
f
vent them.
HASTMAJN KODAK
ROCHESTER, NEW YORK
258
JUNE 1932
MOVIE MAKERS
The Increased Facilities you've wanted are yours...
in these companion "K's"
CINE-KODAK, MODEL K
/"MNI'-KODAK K, finished in black, blue, or brown genuine
V-* leather, with/.i.9 lens, $150; with /3«5 lens, $110. Com-
bination carrying case included,
Till- 4)4*iHCb,f,4.} TetepbotO Lens
acts like apotverfitl telescope, it en-
larges the imageon the « rem four and
out-hit If times the width and blight
permitted by the i% mm., f.i.i) lent,
Priet, $(><>. i*incb Telephoto Lens, $45.
THE 1 5 mm.,f. 2. -• It /./<■ . ingle l em
h awful for making indoor movies
in Small rooms, or filming outdoor
subjects when yon want more ,tre,t to
appear on the film. Price, $41.
BY merely pressing .1 button while
the motor is running yon double
the exposure time. Heme it is possible
to make clear, detailed movies when
light conditions would otherwise pre-
terit them.
Better movies. ..metre
conveniently. ..at
moderate cost
REMEMBER the thrill when you flashed
„ your first movies on the screen? Good,
bad, or indifferent . . . those pictures seemed
perfect to you then.
But as time went on you became increas-
ingly critical. Average results no longer satis-
fied you. You wanted facilities for making a
greater variety of movies. Telephoto shots,
Kodacolor movies, wide-angle views, inthe-
home shots at night.
Now, these facilities can be readily obtained
at moderate cost, in Cine-Kodak K. For in-
stance, this camera has an interchangeable
lens feature that permits you to switch from
your/3. 5 lens or/ ' -9 lens to the ' 5 mm-'fa
Wide Angle or the 3-inch or 4^-inch, /j.5
Telephoto Lens . . . easily, instantly. It h" a
half-speed device, two finders, and other fea-
tures for increased facility, greater con-
venience.
Its companion projector, Kodascope K,
offers equal opportunities for improving the
r ■ .. ir Ins a new. im-
projection of your movies. K n« «
proved optical system with a special 1
lamp for maximum brilliance ... a refl>«
efficient cooling system. It projects M)
movies as well as black and white. ,
Read the features of these companion s
on this page. Then, check tntir f
at your Cine-Kodak dealer's. Both K° < . £
K and Cine-Kodak K may be purcna
your dealer on easy terms.
EASTMAN KODAK CO.
ROCHESTER. NEW YORK
KODASCOPE, MODEL K
T^ODASCOPE K (mo- 1 25 volts,
■*■ ** A.C. or D.C.) is equipped with a
2-inch lens for maximum black and
white picture brilliance. The com-
plete outfit includes carrying case,
two 400-foot reels, humidor can,
extra lamp, film splicing and oiling
outfits. Price, $175. Model K, with-
out carrying case, $160.
Rewind release and Receptacle for plug- Control panel where Lenses of various fo-
brake assures film ginginaroom lamp, most of the impor- cal 1
'»g rewound When Kodascope taut operating con-
tightly on the sup- lamp switch is on, tro/softhe "K" are
ply reel. the room light is off. at your finger-tips.
Kodacolor I nit t
quickly inter-
changeable.
Ammeter, indi- Hinged door to
rcctly illuminated lamphouse makes it
during projection, easy to dean "•>•
indicates lamp denser — replace
amperage. lamp.
News of the industry
26C
Answers the query,
"What's new?" for
amateur and dealer
United Research ■
The 16mm. "sound
minded"' public will be
deeply interested in a
new sound on film de-
velopment in this width
which makes use of a
system similar to that
now in use in professional practise. This involves the stand-
ard, 16mm. film, with sound track printed in a narrow band
alongside the picture, leaving both rows of perforations in-
tact. A complete demonstration of the system was given at a
recent meeting of the Society of Motion Picture Engineers
in New York under the supervision of H. G. Tasker, chief
engineer of the United Research Corporation, 41-39 Thirty
eighth Street, Long Island City, N. Y. Three different types
of machines have been developed for home, educational and
industrial application. A projector of special design is fea-
tured in all of these in which the film is self threading so
that this part of the operation is extremely simple. The inter-
mittent movement is designed so as to effect the movement of
the film with the minimum of noise so that the machine,
inside its case or cabinet, gives no evidence of its operation
other than that of the projected sound and picture. The
cabinet model machine for the home is of very pleasing
design and comprises talkie projector, translucent screen,
radio, and record turntable and pickup. The nonradio
models, however, comprise only the sound on film talkie pro-
jector and its attendant amplifier.
400 foot EyeiTIO ■ T° meet special demands for airplane
motion picture work and for outfitting
scientific and exploring expeditions, the Bell & Howell Com-
pany has arranged to equip its portable 35mm. Eyemo movie
camera with an electric motor. Also an external film magazine
carrying 400 feet of film can be added. Any Eyemo camera
carrying a hand crank may be motor equipped. The motor
is mounted on one side of the camera, engaging the hand
crank socket. It will run the film through at speeds from
24 to 4 frames per second, adjustment being made through
the camera governor. Either a twelve or 110 volt motor can
be adapted to the camera. The former is particularly practi-
cal for airplane work as this voltage is available from the
plane batteries.
Parchkin ■ A novel source of title backgrounds for the
amateur, both in large and small sizes, is
found in the special papers manufactured by the Paterson
Parchment Paper Company, of Passaic, New Jersey. This
paper, embossed and grained, comes in many different and
pleasing designs and from a selection of these designs the
title maker may choose one which will seem most appropriate
to his subject, producing a pleasing uniformity throughout
the film by the consistent use of the design as a background.
The paper known as "Parchkin" has a parchment like effect
and in the lighter weights may be photographed by trans-
mitted light, the illumination coming from the rear. Paste]
shades may also be had for color titles.
Makinette ■ The constant increase in the use of small,
still picture cameras has created a need
which is admirably met in the Makinette camera, as imported
by Willoughbys, 110 West 32nd Street, New York City. This
little camera has many features which will commend them-
selves to the movie maker. In the first place, it has a lens
as fast as the average movie lens, operating at a maximum
speed of //2.7. The Makinette almost fits the palm of the
hand, yet takes pictures 1-3/16" by 1-9/16" in size which,
if the lens is correctly focused, will give a 9" x 12" enlarge-
ment if desired. By an ingenious arrangement, both dia-
phragm and focusing control are effected from the top of
the camera. Especially interesting is a scale which automati-
cally gives the depth of focus at any stop used and for what-
ever distance the focusing scale is set. The shutter is pro-
vided with automatic exposure settings from one to 1/300
sec, besides "T" and "B". The camera comes in a handy,
"everready" case which enables pictures to be taken without
removing the case. Two filters, a 2X and a 4X, are furnished
as part of the outfit. Special provision is made for the attach-
ment of a Leitz distance meter. [Continued on next page]
Paterson Parchment Paper Co. — Royal Card & Paper Co. — Photograph by Russell C. Ho
Negative effects
on positive film
given by new paper
MOVIE MAKERS
261
Background shown opposite
lettered by Ralph R. Eno
Goerz-PocketteB°biectives of
higher speed and
longer focal length have been developed
by the C. P. Goerz American Optical
Company, 317 East 34th Street, New
York City, for the popular Pockette
movie camera, a product of the Inter-
national Projector Company of New
York. According to Mr. Fred Schmid,
Goerz manager, these lenses may be
had on special order, with mounting
adapted to the Pockette in speeds of
//2.7 for the one inch lens, with focus-
ing mount and of //3 for the two inch
objective. For the latter, an interesting
adaptation in the form of a skeleton
mask for the iconographic viewfinder
has been made, as shown in the illus-
tration.
Haile Sales ■ Interesting premiums
on good titles are of-
fered this month by J. C. Haile & Sons,
215 Walnut Street, Cincinnati, Ohio. On
certain purchases of apparatus, one
may obtain, in addition, free titles in
various quantities.
Western Electric ■ At a veir effec-
tive demonstra-
tion recently given in the auditorium of
the Electrical Research Products, Inc.,
of New York City, a most efficient,
portable, 16mm. sound on disc system
was put through its paces. A product
of the well known Western Electric
Company, this system displayed all the
features of efficient operation and stur-
dy construction for which the products
of this company are noted. The projec-
tor unit comprises a 33-1/3 r.p.m. turn-
table, pickup of special design and syn-
chronous motor, operating in step with
the projector head proper which is
mounted on an independent, rigid ped-
estal. It is significant that, in conjunc-
tion with its outstanding sound repro-
ducing apparatus, Western Electric has
chosen the Victor projector head, so
long known in this field. Volume con-
trol, main switch, voltmeter and thread-
ing are all readily accessible from one
side of the unit. For carrying, the turn-
table is removed, and the machine col-
lapses into small compass inside a
double [Continued on page 273]
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4,TESSARF2.7andF3.5,TELE-TESSAR F6.3
■ FINDERS ■ FILTERS ■ SUN SHADES -
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., New York. 728 South Hill St., Los Angeles
Add Sound On Film
To your portable projector, no matter what make
With a SYNCROFILM sound on film head, you may convert your silent
35 mm. portable projector into sound on film equipment, allowing you the
full range of modern talkies. See the SYNCROFILM above with an Acme
Portable Projector.
No changes are necessary to projector mechanisms. Easy to set up and to
operate. You add the smooth running SYNCROFILM sound head, with its
independent drive, to your silent machine and it becomes a talkie projector
which will supply you with perfect reproduction — without waver or other
distortion. You will be surprised at the low cost.
Dealers and servicemen write for full particulars.
MANUFACTURED BY
WEBER MACHINE CORPORATION
59 RUTTER STREET ROCHESTER, NEW YORK
262
JUNE 1932
9Dear Mr. Eno:
I appreciate the hard work and skill
which you have shown. The general
editing and appearance is certainly well
above most amateur films that I have
seen. I certainly feel that you have done
a fine job.
Sincerely yours,
Julien Bryan,
Brooklyn, N. Y.
• Eighth in a series of unsolicited letters
indicating customer appreciation.
Free: Test Film
While your lights are still on, a correct
focus may be obtained if Eno's Test Strip
is spliced into your film.
Send $2.00 and copy for two short
hand-lettered titles. A Test Strip will
be given free with every order.
48 HOUR SERVICE
RALPH C ENC
America's Pioneer (16mm.) Art Title
Builder and Film Editor. Charter
Member A.C.L.
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
Conforming to an existing
demand for moderately priced
titles
RALPH R. ENO
ANNOUNCES
S E R
I C E
This is an additional service for those
whose requirements indicate a type of
title, typically Eno in quality, yet
moderate in price.
You will want to try them. Coupon
below, for your convenience.
RALPH K. ENO, 1423 Broadway. New York
Dear Sir:
Enclosed please And $1.00 and copy
for 4 titles. None of these titles
contains more than 10 words.
Name
Address
.City
Talking of travel
[Continued from page 247]
Any hackneyed subject can be revi-
talized by a similar treatment. It is
well worth trying.
The whole world of movie makers is
familiar with expressions like the fol-
lowing, "I didn't take any shots at
B , I got no farther than the railroad
station." Such remarks deserve a good
chuckle. Take the trip from Copen-
hagen to Hamburg, for instance. No-
body gets beyond the railroad station,
yet that trip furnishes the most inter-
esting kind of moving picture material
at every station and the stops are long
enough to record it.
The train comes to a stand still; a
hand with an interesting package ap-
pears at the window; looking out, one
sees a large sign, '"Liibeck." Great
activity is taking place all along the
platform. Very picturesque wagons are
piled high with that delectable delicacy,
Marcipan, for which Liibeck is famous.
Youngsters are greedily cramming it
into their mouths and grownups are
eagerly or deliberately selecting boxes
to take home. All types of heads are
thrust from the train windows, their
owners excitedly waving their hands
and demanding attention.
Wouldn't you like to film it?
Oh the beaten paths! Lead us to
them and let us pit our imagination,
our feeling for design, our cine skill
against all who have gone before.
Something more
than scenic
[Continued from page 249]
cool endless stream. Beyond there are
the deep shadows moving on a bed of
fallen pine needles and above a wan-
dering cloud. In each of these scenes,
the cameraman plans his position so
that as much emphasis as possible may
be given the desired effect and as much
of everything else as possible may be
excluded.
The selection of these significant de-
tails must be made with a fine discrimi-
nation and with an insight into their
intrinsic as well as cumulative value.
Each, in some way, must contribute to
the sense of refreshing coolness, each
must certainly be cinematic. In choos-
ing the details that are to build up an
impression, the cameraman must an-
alyze what he is about to capture within
a frame, he must decide what value it
has in itself and what bearing it will
have on the whole. Then he will use the
camera to transpose it to the screen, as
a painter would use a brush to set it on
a canvas.
The material is always accessible;
the more familiar it is, the better. If in
planning to film a familiar thing, the
amateur will search his mind, he will
find that he has already collected im-
pressions that could be best transferred
to the screen in closeups. Time and
perseverance are essential for, in build-
ing up a reel of the out of doors that
has individual meaning and is more
than a scenic, all shots require much
thought and study, not to mention
flashes of intuition. It may be but a few
minutes before understanding is clear,
or it may take days and months, but the
goal, when attained, is worth the effort
in the satisfaction of the urge to create
and in the joy it may bring to others.
Garden closeups
[Continued from page 248]
blossom, and it would sway with
his weight. After a short preliminary
investigation on the outside, which I
don't pretend to understand, he would
sometimes leave it and enter the next
one, forcing the petals apart and crawl-
ing in on his belly, while the opening
and closing petals looked like a huge
mouth in the act of swallowing him.
Sometimes his hind feet stuck out
through the opening while he busily
gathered whatever he was after. Then
he would wriggle out backwards like a
dog out of a hole he had dug and go to
another blossom.
With the bee as large as a dog on
the screen and the flower much larger,
it made a fascinating picture. But it
takes patience to procure, for the bees
fly from one blossom to another with
no apparent rhyme or reason and soon
it was found impossible to do anything
but focus the lens on a likely looking
blossom and just wait until a bee hap-
pened along. Most often he would not
come near it but would visit most of
the other flowers around. For some rea-
son, the scabiosa blooms seemed to at-
tract the greatest variety of insects.
There were great varieties of bees, more
than I ever knew existed, from tiny ones
not much larger than a house fly to big
bumblebees. There were yellow jackets,
rose bugs, moths of several varieties
and all sorts and sizes of butterflies
from the common yellow "cabbage but-
terfly" to beautiful red, brown and
mottled ones. The most beautiful of all
were the big swallowtails. It was neces-
sary to remove the half inch extension
to get one of these as he was so large
that, without it, he filled the frame and,
as he constantly moved about, there
was plenty of action — too much, some-
times, as he continually got out of range.
It should be said here that it is prac-
tically impossible to get such pictures
without an attachment which permits
focusing with the lens in place on the
camera, as it is necessary to get the
exact focus and expose the film very
MOVIE MAKERS
263
quickly, since most insects remain in
one place for a very short time only and
then move on to another flower. Were
you to focus the lens while off the cam-
era and then try to attach it, the sub-
ject would be gone. Then, again, the
weight of some insects, like bumble-
bees, will bend the stem of a flower and,
with an extension on the lens, only a
small variation in distance from subject
to lens will throw it out of focus.
Then there was a wasp who frequent-
ed the garden all summer, the only one
I ever saw there. He was black with an
orange band around the large part of
his body. He visited the blossoms as
industriously as the bees but would
tolerate nothing but a butterfly on the
same flower. He would alight on one
on which were a rose bug and a bumble-
bee and immediately charge them with
his head, striking them with it and his
front feet. Failing to leave at once, they
were unceremoniously knocked off.
One Sunday morning, on going to in-
spect the garden, I found, between two
high zinnia stalks, a brand new spider
web, beautifully made and with every
strand perfect. The two tall stalks had
heavy strands running down from their
tops and connected to lower points on
other stalks nearby, like the shore an-
chorage of a suspension bridge. These
prevented the weight of a captured in-
sect or the spider from sagging the
web in the middle. Investigation showed
a big black and white spider under two
zinnia leaves which grew on opposite
sides of a stalk. The tips of these leaves
which grew somewhat down, instead of
up, had been pulled toward each other
by strands of web and the spaces be-
tween their edges filled with a fine
spun mesh, thus forming a perfect
gable roof which protected the old
cutthroat from rain and sun alike. The
whole beautiful structure was covered
with dew and sparkled in the sun.
While I watched, a yellowjacket on
his way to the neighboring flowers, in-
tent on breakfast, I suppose, and with
his mind off his driving, ran into the
obstruction. Instantly the spider, more
quickly than it seemed possible for
such an ungainly creature to move, was
on him. With his front legs, he bent his
victim double and repeatedly bit him
in the middle of the back, then carried
him off to his shelter under the zinnia
leaves. Of course, I did not get a pic-
ture of this because I was unprepared.
Later in the day I went equipped for
picture making but found only a few
strands of web left and thought, well,
there was a wonderful opportunity
missed. But I found that every morning
there was a new web as bees and larger
insects, able to tear themselves free,
would wreck it every day and the spider
would build a new one every night.
Then, at last, on Sunday morning a
week later, the black lined box previ-
Victor Pocket Titler
NOW your titles can be made right "on the
spot" in between scenes — any place, any
time. The Victor Pocket Title Maker folds to
pocket size and weighs but a few ounces — easy
to set up, easy to use, easy to carry!
Opportunity is afforded with, the Pocket Titler
for obtaining a variety of title effects. Any kind
of background may be employed, including pho-
tographic prints and clippings.
TITLE AS YOU CO' Order your Victor Pocket
Titler todav.
A PRODUCT OF
VICTOR ANIMATOGRAPH
DAVENPORT, IOWA, U. S. A.
CORPN
No.
I for VICTOR with I" LENS
20 " " " 20mm "
IF " FILMO " I"
20F" " " 20mm "
IO
ORDER
THRU
YOUR
DEALER
s
III Sensational MOVIE OFFER!
An Additional Shipment at Far Below
HALF PRICE
De Vry
AUTOMATIC CAMERAS
ELECTRIC PROJECTORS
ABOVE, THE CAMERA
The dependable Graf f/3.5
anastigmat lens in standard
mount. Powerful auto?na$ic
motor. Uses 16mm. film.
BELOW, THE PROJECTOR
Model D. Suited to 50 ft.
throws. Uses 250 watt frefo-
cused lam-p. Operates on either
AC or DC.
Regular Prices
Camera $57.50
Projector 98.00
Total $155.50
ABE COHEN'S
PRICE FOR BOTH
50
Here is one of the
greatest values ever to
be offered in automatic
cameras and projec-
tors. A handsome,
rugged, accurate DeVry
Automatic Movie Cam-
era — and a powerful
projector that present
beautifully clear, pro-
fessional quality pic-
tures. A special quan-
tity purchase by Abe
Cohen's makes possible
this sensationally low
price.
69
COMPLETE
AbeCohensExchange
120 FULTON ST. NEW YORK, N. Y.
DEALERS— Write in for special
proposition in your territory.
264
JUNE 1932
2)
ramati$e
YOUR HOME MOVIES!
Stop wasting film by aimless snap-
shooting. Now you can make per-
fect photoplays with your own
group — family — friends or club.
COMPLETE SCENARIOS, with
every detail worked out by profes-
sional writers, cameramen and di-
rectors, are available at a very rea-
sonable price. All you do is DIRECT
and PHOTOGRAPH the PICTURE.
A large list of scenarios is ready
in two sizes — Features 400 ft. in
length and 100 ft. Featurettes. Each
scenario includes a scene-numbering
slate and complete set of art titles
on 16 mm. film.
PRICES
400 ft. Features $15.00
100 ft. Featurettes $ 6.50
Write for List of Stories
HOME MOVIE SCENARIOS, INC.
1220 Guaranty Bldg.
Hollywood California
Professional Effects
with your amateur camera
now possible by using the new
combination
MATTE BOX, SUNSHADE and FIL-
TER HOLDER with Harrison H. M.
S. professional filters. . Obtain wide
variety of effects never before with-
in your reach.
Fits any standard 16mm. camera;
also Eyemo, DeVry, etc. When you
order, BE SURE to give name of
camera, lens equipment and lens
mounts.
Price complete — $7.50
List and prices of filters on request.
Professional editing service a specialty. Art
titles made to your order. Write for prices.
Scene numbering slates, $1.00 each.
HOME MOVIE SCENARIOS, INC.
1220 Guaranty Bldg.
Hollywood California
ously mentioned, mounted on its tripod,
was set up about six inches away from
the web, tilted to a position to exclude
the sunlight from its interior and form-
ing a black background, against which
the dew covered web sparkled in the
morning sun. The camera was set up
with no extension in the lens in order
to cover a fairly large field of web and
permit photographing of sufficient ac-
tion. An insect was snared. The camera
got it while it struggled and it got the
old butcher as he rushed out and as he
carried off his victim. Later on, 1 insert-
ed the one and one half inch extension
and found that, by rubbing lightly on
one of the heavy main suspension
strands with a twig, he could be induced
to come out looking for trouble. So,
while my wife did this and he posed in
the open, I hurriedly focused the lens
and got him again. Shown on the screen,
in enormous size, he is the sort of thing
one may have seen in a nightmare.
But,' because he posed so beautifully
for me, I permitted him to stay in the
garden unmolested and I visited him
early every morning. He became so big
and swollen in the five weeks or more
that he was in the garden that he gave
promise of bursting. This goes to show
what high living and no exercise will do.
In short, I know of no more fasci-
nating results than can be obtained
with a movie camera, a telephoto lens,
a garden and patience. There is only
one thing that could make it more
nearly perfect and that would be the
possibility of reproducing the glorious
colors of the flowers and the insect life
with a telephoto lens at stops from
//4.5 to //ll.
//
"To err is human—
[Continued from page 250]
whole, are disappointing. In this con-
nection, it might be mentioned that
camera movement must be guarded
against more than ever when telephoto
lenses are used because movements of
the camera are magnified in direct pro-
portion to the power of the taking lens
and the distance between projector and
screen upon projection. It is possible
for a steady individual to use a three
inch telephoto lens quite successfully
without a tripod but, for longer focal
lengths, a tripod is advisable unless
satisfactory steadiness can be obtained
by holding the camera tightly against
some rigid object.
Quite frequently, an amateur, who
does not fully understand the dia-
phragm markings and has no exposure
guide handy, interprets the smaller fig-
ures, //4.5, for example, as representing
the smaller opening. The contrary be-
ing true, the result is too light and glary
or overexposed. Others overexpose
their films deliberately when in doubt,
Unique and Inexpensive
All Metal Humidor
Reel Pack
The film carrying case with the widest
range of utility. The ideal case in which to
pack, carry and store 16mm. film. In 6 reel
and 12 reel sizes.
#16, 6 Reel Size, $2.50
#26, 12 Reel Size, $3.75
Finished in crackle finish, nickel fittings and
lock. Ask your dealer or write.
Fried Mfg. Co.
5151 W. 65th Street, Chicago, Illinois
Art Titles * 3Ua
20 Illustrated Border Styles
Beautiful Borders for all occasions.
Weddings, Children, Tropics, Winter,
Vacations, etc. Use one or all without
extra charge. Very smart type style.
Eight words or less per title 25c; extra
words 3c. Minimum order $1. "The
End" FREE with order. Quality guar-
anteed perfect. Write for illustrated
folders.
Art Title Quilde
5519 Broadway Chicago, 111.
m, REDUCTION PRINTS
■5/mFR0M
ENLARGED TO 35mm — 28mm.- 17.5
mm.
16
GEO. W. COLBURN
Special motion picture printing
7228 N. Clark St., Chicago
16
.29
FOR THE FIRST TIME
This marvelous 16mm. RISDON Moving
Picture Camera.
at only ®ne year '""*' Guaranteed
EASY LOADING
SPRING DRIVEN
SIMPLE TO OPERATE
STURDY CONSTRUCTION
Fine quality f/3.5 Bausch & Lomb Lens.
Takes clear, sharp pictures of amazing
quality.
Add this camera as an accessory to your
other cameras. Ideal for shorts, titles,
and where only 50 ft. of film is desired.
WOLK CAMERA CO.
219 S. Dearborn Street Chicago, 111.
snminnier service
Best offerings of latest equipment,
full supply of all kinds of film and
the careful service of actual movie
amateurs on our staff.
These advantages are offered to
New Yorkers and visitors to New
York, at the edge of Central Park by
Phone
Circle
<M
i,So«s
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
MOVIE MAKERS
265
believing it to be better than under-
exposure. In such cases it is better to
err on the side of underexposure.
As previously mentioned, the average
amateur is inclined to be a bit careless
in loading films and sometimes changes
reels in direct sunlight. This results in
edge fog or transparent patches, some-
times, along the edges of the entire
length of the film. Loading should be
done in subdued light. Sometimes a car
with the side curtains drawn down may
be used to shade the camera or a coat
thrown over the shoulders will help if
no other protective shade is available.
Very often the amateur projects film
immediately upon receiving it from the
processing laboratory and finds a line
or lines throughout the film. He wonders
what caused these streaks and is likely
to blame the processing. The labora-
tories can tell whether a scratch was
caused by the camera before or after
exposure, or was due to handling in the
laboratory. Invariably the trouble is
found to be due to some foreign matter
lodging in the camera's aperture plate
which comes in direct contact with the
film and causes the scratch. Frequent
cleaning of the aperture with a piece
of soft pointed wood, chamois or soft
brush — but never a metal instrument —
will eliminate this trouble.
"Don't take pictures with the sun
shining into the lens" holds just as good
for movies as it does for stills. This,
however, occurs, ordinarily, during the
course of panoraming. The result is
that there is a halo effect and, in many
cases, the scene is quite badly over-
exposed. This will not only break the
uniformity of the exposure but may
also cause considerable grain in the
film, which on the screen looks like
rain. Sometimes for artistic effect or
through necessity, it becomes desirable
to shoot into the sun — in such cases
the lens should be shaded from the
direct sun rays by the use of a hat,
cardboard or some other means.
With the increasing use of high speed
and telephoto lenses, a number of films
are found out of focus. Inaccuracy in
judgment of distance is the cause. If
possible, a distance meter should be used
or the distance may be paced off. In
most cases, however, the lens may be
set at fixed focus as explained in the
instruction manuals. This setting is
usually twenty five feet and, when used
with the average stop opening, will re-
sult in objects from six feet to infin-
ity being in focus. In making closeups
or in using speed lenses quite wide
open, the focus must be accurate to be
satisfactory and, in changing from a
closeup scene to a long shot, the neces-
sary change in focus should be ob-
served. In some cases, when the lenses
are exchanged in a hurry (to telephoto
and back), k often occurs that the
:::
^lll^'^IU
ii!
iwm\ -
■<■ .«■!•».
■ i
■ i
u jm
k ■■
■ i
1 A
■■
'.'.'.
1 , J
■ 1
1 ■
II
1 1
IBk.4H
9 I
1 1
1 ■
I
■ ■ ■
ii:
'ilir iiii.. iiuP WW iii iB.JP1 mJ> *; ji? 1
!"
!!!
lj
BVJB 11 iJTI ■ W U
\ »ll il 1
ill
■ ■ i
IH~
!S"
■wmmL
. ■
!!
■■ ■
■ ■■
"*«
^,01'' - ■■
■■ ■
III HIGHEST A
[■■ An unusual deme
startling offers at
CAME
III $100 ALLOWANCE
HI trade for 70DA.
$75 ALLOWANCE
J //1.9 in trade
III f/1.9 ($150).
'ill $50 ALLOWANCE
//3.5 in trade
'B f/1.9.
offers
LLOWANCE ON EXCHANGES
For a limited time only.
nd for used equipment enables us to make these
the present time.
RAS PROJECTORS
on Filmo 70A in $160 ALLOWANCE for B & H pro-
jectors with oval base, 375 watt
model, variable resistance, in trade
on Cine-Kodak B for new model JL, 400 watt.
or new model K <$298).
$140 ALLOWANCE for same projector
/->• t/ j i d with fixed resistance in trade for
on Cine-Kodak B new model JL 4Q0 watt
for new model K $12Q ALLOWANCE for B & H pro-
jector, oval base model, 250 watt,
— fixed or variable resistance in
trade for new model JL.
ECTROPHOT $50 ALLOWANCE on Kodascope
Model C projector or DeVry
on your exposure model G in trade for the new
r the new Elec- Kodascope Model K, with case
($175).
fied assortment includes B. & H., Eastman and Keystone cam-
implex Pockette cameras and Ampro projectors. Specify what
h your requirements.
MBUS PHOTO SUPPLY
vVE. NEW YORK
■ ■ ■
■ i •
■ ■ ■
>■ ■
i ■ ■
i ■•
i ■ *
■■■
I ■ E
■ ■ ■
II ■
■ ■■
■ ■■
THE NEW EL
$5 ALLOWANCE
meter in trade fo
trophot ($30).
Our unusually divers
eras and projectors, &
you have together wit
COLU
146 COLUMBUS/
■ ■
■ ■
■ ■
■ ■
■ *
■ ■
■ ■
•■■■■■■«*•*■■■■■
:::::
::::::
::
::::
:::::
::::::
:::
:::::
■ ■
HUGO MEYER
Lenses for
Ltlv«/\ Cameras « « « « « «
... . for
Inasmuch as miniature negatives often require a SPEED
considerable amount of enlarging, it is advisable Kino-Plasmat
to use lenses whose characteristics conform to //1.5
:.... . those of the cine type. Hence, the following
Hugo Meyer Lenses are recommended for Leica
Cameras.
Kino-Plasmat //1.5, 3" focus $126
Trioplan f/2.9, 3" " 61
Trioplan f/2.9, 4" " 66
Tele-Megor f/4, 6" " 101
All in micrometer focusing mount.
These lenses are, of course, interchangeable,
on the camera, with its standard lens. Prices
fy^am, include adaptation and checking to camera.
SJy^^lgU ;! // you possess any of the above lenses,
mf^xii^B cSl we can suPPly y°u with an auxiliary
for iKtr 4s~ aPVRiSS^ adapter, enabling you to employ it
TELEPHOTO-" Wvf^Wfe- -•^^ShIMBH^ either on your cine or Leica Camera.
Trioplan ^fl 3^^ Booklet on request
M. ^M X HUGO MEYER & CO.
leieMegor ^w ^ 245 West 55th St. New York
Works: Goerlitz, Germany.
266
JUNE 1932
NOW
Printed
Kodarirles
in six different
styles at
3c per word.
Write for
illustrated
circular.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
A REVERSE CRANK
FOR CINE-KODAKS
A REVERSE crank in your spring driven
' * Cine-Kodak lets you make dis-
solves, double exposures and all the trick
effects involving backing up film without
removing it from the camera. I will in-
stall this feature in any spring driven
Cine-Kodak for
$25.00
The installation, which does not in any
way hamper your camera's performance,
provides your Cine-Kodak with a rewind
key operating only when desired. By
turning the key backward, you can re-
verse the film frame by frame.
Audible clicks simplify count-
ing reverse footage. Additional
parts chrome plated to match
the camera.
WILLIAM J. GRACE
1222 Kirby Bldg.,
Dallas, Texas
For the owner of a
SIMPLEX
PCCKETTE
CAMEE/1»
The Goerz Kino-Hypar, 1 inch,
//2.7, noted for its absence of flare
and coma, has now been adapted, in
focusing mount, for the Simplex
Pockette Camera. With a 50% in-
crease in speed, it offers an unlim-
ited increase in efficiency to users
of this camera, providing the pos-
sibility of closeups up to 3 ft. and
full exposure on interior closeups
at a distance of from 3 to 6 ft., when
using supersensitive film and two
photoflood lights.
Further information on request.
A GOERZ
KINO-
HYPAR
//2.7
FOCUSING
LENS
$
35
Also
in preparation
2", //3 Kino-Hypar in focusing mount, to
be used interchangeably with the 1" lens.
50% INCREASE IN SPEED
UNLIMITED INCREASE
IN EFFICIENCY
lenses are not screwed to maximum
depth, giving out of focus pictures.
Another condition noticed in many
amateur films is monotony of subject
matter. To avoid unnecessary editing
and consequent film waste, the opera-
tor should ask himself, before making
the exposure, if the event is worth while
recording permanently. If it is, he
should carefully adjust the lens dia-
phragm to take care of the exposure,
set the focusing scale and then operate
his camera for not less than ten seconds.
This time may be estimated by count-
ing from one to ten at ordinary speed
while the camera motor is in motion.
Shorter scenes do not give the observer
time to thoroughly absorb what is tak-
ing place and longer scenes are apt to
be monotonous unless there is plenty of
action in the picture. Another method
in avoiding monotony is to intersperse
long and middle distance shots with
closeups. As a matter of fact, the close-
up is always highly important. It is
noticeable in professonal pictures that
closeups are freely used so the audi-
ence may know exactly what is going
on. In our home films, except in the case
of landscapes, closeups of our friends
and pets are much more interesting
than long shots, although a variety of
scenes is desirable.
Another thing that has been observed,
but which has no bearing on the qual-
ity of pictures made, is that a great
number of movie makers send in the
wrong roll of film for processing — send-
ing in a reel that has not been exposed.
This can be avoided by enclosing the
exposed reel, immediately after remov-
ing it from the camera, in the cardboard
box from which it was taken and mark-
ing the box with a number, initial or
distinctive sign, or by writing the word
"exposed." If the box is not handy, the
metal container or the reel can be
scratched with an X by using a coin or
key or by writing upon it with a pencil.
If this error were included in the list,
it would be among the most common.
Because of the willingness and desire
of manufacturers to cooperate with
movie makers, and because of the activi-
ties of the Amateur Cinema League and
of movie clubs, the general tendency is
toward better amateur motion pictures
and, as a matter of fact, these difficul-
ties do not appear so often in the films
of movie makers who have made use of
these aids, but, of course, there are new
enthusiasts every day, many of whom
make these common mistakes and whom
it is hoped this review will help.
C.P. GOERZ AMERICAN OPTICAL &IEEI
321 EAST 34™ STREET NEW YORK CITY
MOVIE MAKERS
267
Amateur clubs
[Continued from page 253]
have included a demonstration of the
new supersensitive Kodacolor film by
Alfred Hargreave, the projection of
Fly Low Jack And The Game, the pro-
jection of Four Wheel Breaks and The
Hero, produced by the Silver Screen
Players of San Francisco. Among the
attractions recently offered by the
9.5mm. section of the club have been
discussions of exposure and 9.5mm. title
making and the screening of members'
films. In addition to all its other activi-
ties, the San Francisco Club is now
holding a contest for the selection of a
club leader and a fifty foot picture con-
test. The dramatic section is working
on a script for summer production.
Amateur Cinema News is the title of
the club's excellent monthly magazine.
Los Angeles
The latest meeting
of the Los Angeles
Amateur Cine Club was held on a sound
stage of the Fox Film Studios. Studio
technicians demonstrated professional
production and fifty members who
brought their cameras photographed
special scenes staged by Fox actors.
Offerings of an earlier meeting included
an address on the use of telephoto
lenses; the projection of films demon-
strating the unusual uses of telephoto
lenses, including a reel of microscopic
scenes made by the technical staff of
the University of Southern California;
the screening of films entered in the
club's Uncut Film Contest in which con-
testants submit 100 ft. rolls of films just
as they are returned when processed.
Philadelphia
A talk on Koda-
color by H. P.
Kelley, illustrated by the projection of
Kodacolor films, was the chief attrac-
tion of a late April meeting of the Phila-
delphia Amateur Motion Picture Club.
Other features were a demonstration of
new lighting equipment and the screen-
ing of entries in the club's Film of the
Month Contest. The first prize for these
monthly contests is a 100 ft. roll of film
and second is a 50 ft. roll.
Interclub contest
The Philadel-
phia Amateur
Motion Picture Club, the Metropoli-
tan Motion Picture Club, the
Hartford Amateur Movie Club and the
Larchmont Cinema Club have entered
the interclub contest. The Metropoli-
tan Motion Picture Club has entered
Streams by Charles J. Carbonaro, A. C.
L., in the scenic class; The Jam Of
Jim Jones by George A. Ward, A. C. L.,
and Frank Boylan, A. C. L., in the pho-
toplay class; A Summer's Day by
George L. Rohdenburg, M. D., A. C. L.,
in the Kodacolor class; From Cane To
f*£K£WMCUSE
AND
SILLY SYMPHONY
CARTOONS
By Exclusive Arrangement withWalt Disney
CINE ART
Present These Famous Cartoons in 16mm
NOW READY—
12—100 foot subjects, each . . $3.50
25 — 50 foot subjects, each 1 .75
50 — 25 foot subjects, each 90
25 — 10 foot subjects, each 35
Minimum Order Accepted Must Total 100 Feet
ORDERS WILL BE FILLED IN ROTATION
RECEIVED
HOLLYWOOD FILM ENTERPRISES, INC.
6060 Sunset Blvd.
HOLLYWOOD CALIFORNIA
268
JUNE 1932
Bass Recommends
This Bell & Howell
Model JL Projector
"Not a belt in a carload" . . . that's the
Bell & Howell Projector Model JL.
Super illumination . . . speed rewind
. . . Symmetry of design . . . and, of
course perfection of mechanism.
Price, complete with case, $298.00.
Let's Swap I
Bass allows more for old projectors
. . . any make. Send description for
prompt appraisal.
/ * Bass Bargaingram No.
209-H and Bell & Howell 64 page
Silver Anniversary Catalog. Get your
copies.
BASS
CAMERA COMPANY
179 W. Madison Street, Chicago
Camera headquarters for tourists
WIDEST ASSORTMENT OF
INTERESTING SUBJECTS
ALL IN ABSOLUTELY
PERFECT CONDITION
The fact that we will not
accept reels with broken
perforations and scratched
emulsions automatically
provides a guarantee
that you will always
get quality films
from us — and qual-
ity has no substi-
List will be
forwarded on re-
quest.
CINE CLASSIC LIBRARY
1041 Jefferson Ave., Brooklyn, N. Y.
USE METAL LETTERS
FOR TITLE MAKING
Send for Prist List of Capital and Lower Cue Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
Sack by Hermann Danz, A. C. L., in the
miscellaneous class. The Hartford Ama-
teur Movie Club has submitted Jasper
Trails by M. T. Hazen in the scenic
class and Water by B. H. Blood, A. C. L.,
in the miscellaneous class. From the
Philadelphia Amateur Motion Picture
Club comes Relaxation by H. C. Axton
for the scenic class and Coquereaumont
by C. G. Bittner, A. C. L., for the mis-
cellaneous class. The Larchmont Cine-
ma Club submitted A Newsreel by
George L. Kirstein for the miscel-
laneous class. The result of the final
contest will be announced in the next
issue of Movie Makers.
Oakland ■ At tlie last meeting of
the Greater Oakland
Motion Picture Club, plans for a sum-
mer contest were discussed. The present
program is to open the contest to all
films made by Oak-land's amateurs dur-
ing this summer. Edwin C. Rosenberg,
A. C. L., is chairman of the committee.
The meeting closed with the screening
and discussion of members' films.
San loSC ■ The Camera Club of
San Jose, Calif., a still
camera club of long standing, has in-
troduced programs of special interest
to movie making members. At a recent
meeting, members' films and The Fall
Of The House Of Usher were projected,
reports Nestor Barrett.
Jersey City ■ The feature of a recent
meeting of the Hud-
son County Cine Club was the presenta-
tion of excellent Kodacolor pictures,
made by Miss Dorothy Ohlsson. The
club has added five new members to its
roster. A public exhibition of members'
work, to be described in a later issue
of Movie Makers, was held in May.
In France ■ At tne Jatest meeting
of the Club des Ama-
teurs Cineastes en France, G. Gronos-
tayski discussed the relationship be-
tween photography and cinematography
and a projection program, consisting
of Winter Sports At Suprrbagneres by
M. Lavigne, Algerie Et Maroc by Jack
Sagan, a film of Abbey Racine by M.
Lefevre, A Trip In Scotland by Count
de Failly, A. C. L., and a film of the
Colonial Exhibition by M. Ficheux
were presented. At an earlier meeting,
the club was divided into production
units, each with cameraman, director
and actors. Each unit produced its ver-
sion of a short scenario, The Condemned
In His Cell, written by Jack Lemare.
Other programs have featured the pro-
jection of Night Effects by MM. Gronos-
tayski, Cloud Effects by M. Lowy, A. C.
L., and vacation films by P. Boyer. Sev-
eral other technical clubs and amateur
production units have been recently
formed in France.
"So you're
going abroad—"
[Continued from page 251]
observed at lovely Stockholm. The
Midsummer Festival, June 23rd to 24th,
is celebrated all over Sweden with tra-
ditional rites which, in themselves,
would richly reward the traveler, though
he saw nothing else of Sweden's lavish
beauty and absorbing interest. At the
beginning of July, there will be beauti-
ful fetes in Dalecarlia, which I always
think of as "the heart of Sweden" and
try never to let any visitor to Sweden
miss. The costumes there are superb
(even on Sundays one gets a fine show-
ing) and it is the countryside of Zorn.
In Spain, you'll find a fair and pag-
eant of great possibilities from June 12th
to 14th at Medina del Campo, in whose
great castle Isabella of Castile died and
Cesare Borgia was imprisoned. There's
a typical Spanish fete at Segovia,
June 24th to 29th, and much to delight
the movie maker at Pamplona's Fete of
San Fermin July 5th to 16th. Pamplona
was built by Pompey's sons and it may
have been citizens of Pamplona who
were responsible for the annihilation
of Charlemagne's rear guard at Ronces-
valles. Valencia has a fair commencing
with a battle of flowers on July 24th and
there, a month later, you may film the
Christians defeating the Moors all over
again. Bullfights make wonderful
movies and pelota games are swift
enough for almost any speed lover.
If you can get to Astorga, twenty
eight miles from Leon, the headquarters
of the Maragatos, on Corpus Christi,
to see these curious people dance the
Canizo in the arcaded Plaza Mayo,
you'll have a film to be proud of. That
whole northwest corner of Spain is a
succession of charming pictures. The
superb gardens at La Granja near Se-
govia are the scenes of fetes Aug. 24th
to 27th.
In Holland, you should be in Middle-
burgh on Thursday morning for the
Butter Market, in Alkmaar on Friday
morning for the Cheese Market, at Stap-
horst on Sunday to see the delightful
Friesland costumes and make a trip
out from Giethorn in the section where
communication is by small boats only.
If you are in Belgium the last Sun-
day in July, look out for the Procession
de la Penitence which has been cele-
brated since 1100 at Furnes, fifteen
miles from Dunkirk.
France has so much for the movie
maker that I don't know where to
begin. Of the Brittany Pardons, there's
Locrenan the 2nd Sunday and Pont
l'Abbe the 3rd. Ste. Anne d'Auray
comes July 25th to 26th, Quimper Aug.
15th to 17th. Carcassonne around July
MOVIE MAKERS
269
14th is a great place to be with a movie
camera. Market day at Saint-Jean Pied
du Port in the Pyrenees is full of pic-
tures. You might strike a Pastorale, a
survival of the Moralities or Mysteries
of the Middle Ages, around Lauleon in
the Basque Country, or a wedding in the
Valley of Ossau, east of Oleron. Mire-
poix, on the route from Pau to Carcas-
sonne, is so marvelous a setting that
even ordinary folk, walking through its
timber arcaded square, make a thrilling
picture. The same is true of dozens of
towns, like Cordes near Albi, Marti-
gues, "the Venice of Provence" near
Aries, Roquebrune above Monte Carlo
and Eze on the Middle Corniche. A
traveler who gets to Les Saintes-Maries
for May 24th to 25th, any year, when
the gypsies come from all over Europe
to elect a queen and hold jousts, bull
fights and horse races in her honor, will
have a film anyone in the world may
envy him. July 14th is a great time to
be in Strasbourg or, even better, in
such Alsace picture towns as Obernai.
Don't forget that the Camarque, the
great delta of the Rhone, is full of "cow-
boys" (gardiens) who ride horses de-
scended from the Arab steeds brought
by Saracens in the 8th century. There
the rodeo flourishes picturesquely.
The Grandes Fetes d' Aries, at the end
of June and beginning of July, should
be triple starred by the movie maker;
they are worth a great effort to attend.
Germany, always a paradise for the
camera, this summer offers an excep-
tionally alluring lot of spectacles for
the movie. The first fortnight of June,
there's a Rhine festival at Wiesbaden.
July brings festival plays in the fortress
at Coburg of which Luther wrote, "a
mighty fortress;" also the annual repe-
titions of the Kinderzeche at Dinkels-
buhl; the Thirty Years War Play at
Nordlingen, when the old walled town
turns the clock back three centuries;
the Living Chess pageant at Schreiber-
hau in the "Giant Mountains" of South-
ern Silesia, near the Czech border,
northeast of Prague; Stuttgart has a
costume parade on July 30th which
ought to be rich in Black Forest types,
and there's one on July 31st in the
Spreewald, that exceedingly pictur-
esque district between Berlin and Dres-
den, where the Wendish people have
preserved so many of their peculiar
ways, and the country is a network
of waterways. Nuremberg has festival
performances Aug. 25th to 27th in
connection with the 300th anniversary
of Gustavus Adolphus's death. And
there'll be the always lovely plays at
Weissenburg near Nuremberg. Any-
thing that happens in a town like Hil-
desheim is bound to make an enchant-
ing picture.
I've not mentioned a tenth of the op-
portunities but this sort of thing gives
the amateur his great chance of shoot-
ing a gorgeous production at small cost
and of adding something of wide inter-
est and definite value to his library of
worthwhile travel films, for which there
is a rapidly increasing audience as pro-
jectors come to be an essential part of
the equipment of homes, schools, clubs,
hospitals and many other places.
Educational films
[Continued from page 254]
keep the biological photographer posted
on the latest developments in photo-
graphic technique, and the proper use
of equipment and materials in relation
to the biological sciences. It will con-
tain articles by authorities in the fields
of biological photography which will
tell, in simple language, how to obtain
in the easiest possible manner what are
ordinarily considered difficult pictures.
The subjects of clinical and gross photog-
raphy, microcinematography and natur-
al color processes will be fully discussed
and the projection of sound and silent
motion pictures will be given considera-
tion. Anyone wishing a sample copy of
the first issue may write to the editorial
office at 519 East Lombard Street, Bal-
timore, Md.
June boon
[Continued from page 256]
When graduation exercises are held
in well lighted halls, the new super-
sensitive "pan" should always be used
and results can almost be guaranteed.
In such places, one can usually find a
point of vantage from which interesting
and worth while angle shots can be
made. Daylight illumination of such
places is too rare to warrant discus-
sion here. When the gathering is in a
chapel or cathedral like and dimly lit
auditorium, the best advice about shoot-
ing is don't. Despite the remarkable
sensitiveness of super pan, there still
are exposure thresholds it cannot cross.
The last condition above mentioned
is the one which applies most generally
to weddings but here, because of the
more personal nature of the occasion,
extra illumination may often be placed
at strategic points without eliciting
serious protest. Up to a short time ago,
this procedure was usually followed
with fear and trembling because the
heavy current drain of high wattage
lamps created a constant threat of
blown fuses, with consequent absence
of all light and possibly a mute organ
besides. Now, however, this fear is dis-
pelled by the new photoflood lamps
which draw relatively little current and
which, when overloaded on an ordinary
110 volt line, burn for about two hours
with a brilliancy nearly equal in inten-
sity to that of the old familiar 500 watt
•
-** ■ .
Photo by
Gayle B.
Pickwell
jf
lAKE YOUR AUDIENCE
INTO THE AIR
With a Wollensak Cine Tele-
photo lens you bring planes,
birds and other distant objects
so close that you actually feel
the thrill of excitement which
grasps your audience. Objects,
otherwise practically indistin-
guishable, give your films new
variety and startling interest.
Timid wild animals, victors in
athletic sports, etc., become
closeups for you. Finest possible
optical corrections assure sharp
brilliant definition to the very
edge. Speedy enough for almost
any light— f/3.3— //4. Extreme-
ly compact. Write for literature
and 10 day trial offer.
giiMMM
Wollensak 6"
focus, //4. On
16 mm., it
magnifies 6
times.
WOLLENSAK OPTICAL CO.
933 Hudson Ave.
Rochester, N. Y.
WITH ANY CAMERA
IIVTEHS^
rraJuce MoonKijW an i NiqMCfhcls in UayKms-
FsqScjiNS- HiffussdfWis an i many »1W «IF«rfs.
Ask your dealer, or write to
GEORGE H.SCHEIBE
ORIGINATOR OF
I927-W-78I2 ST.
16*4*4. TITLES
We will make sample title "Photography by (your
name)" for 25c.
Or purchase from us any of the articles below and
receive free titles (each 8 words or less) as noted.
2 free titles with 6 reel size REEL PACKS, price,
$2.50 each.
3 free titles with 12 reel size REEL PACKS, price
$3.75 each.
2 free titles with SIMPLEX FADING GLASS,
price $2.00 each.
See advertisements this issue Movie Makers for
details these accessories.
Member A. C. L.
We do positive printing and developing
.T. C. HAILE & SONS
Motion Picture Dept.
215 Walnut St. Cincinnati, Ohio
INDOOR
MOVIES
MADE EASY
Opposite the
Hotel New
Yorker
Investigate the
p o s s i bilities of
m o dern lighting
equipment. Let
Joe Maggio show
you how to make
exquisite pictures
at home with a
minimum of illu-
mination.
Wide assortment of
16mm. reels for rent.
LDMA
Camera Service
J02W.34THSt.
270
JUNE 1932
A New Light for
INDOOR MOVIES *5
complete with Reflector and Stand
This new reflector takes either the 400 T bulb or
the new 64 volt bulb, and gives equivalent light
from either. Takes any T type bulb up to 500 watt.
Just the thing lor portraiture or indoor movies.
Reflector and stand sell regularly for $11.50. Our
price — only $5.00 while the supply lasts. The 64
volt bulbs are only $0.40 each. The 400 T bulbs
are $2.75 each.
CENTRAL CAMERA CO.
lamp. True, their life is comparatively
short but their cost is little and, after
all, two hours of actual filming time is
considerably more than the average re-
quirement for a single session of filming.
For appropriate closeups, both person-
ality and atmospheric, a simple aux-
iliary lighting setup of these bulbs
might even be arranged in the vestry.
A perennially favorite wedding shot
is that of the bridal party emerging
from the church. Assuming this to be
a daylight shot, it is a good idea to dis-
pose a few photoflood lamps in reflec-
tors at suitable points about the church
vestibule, rather high, if possible, and
all directed away from the camera to-
ward the path which the party must
traverse to reach the door. Of course,
the lamps must be out of the line of
sight of the camera. Such an arrange-
ment, properly set up, will help to over-
come that all too frequent effect of per-
sons emerging from a dungeon rather
than from a church auditorium.
230 S. Wabash Ave., Dept. MM-6F, Chicago, 111. A thpcgilflJS f)f tricks
A direct reduction print from 35mm.
BIG TREES of YOSEMITE
PRICE $12.00 (200 feet)
ON THE WAVES AT WAIKIKI
Featuring the dog king of surfboard riders.
Price $9.75 (150 feet)
GUY D. HASELT0N 790' ^fiT Blvd
16MM.
35MM.
SPECIALIZING
in the
design and construction of cam-
eras, projectors and printers built
to individual specifications.
Equipment altered, rebuilt
or repaired.
Estimates furnished on all
cinematic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
SOUND
112 East 73d St.
New York City
RH 4-4930
COLOR
©
TITLES
Kt ,s ' Complete editing and titling
| VJEiTtROAYj service. (16 mm. or stand-
/f>\ ard-> Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendaleOOU
DETROIT, MICH.
AT NAVILIO'S » »
Widest assortment of subjects
LOWEST PRICES
Commensurate with the type of service
Just send your old film plus $1.50 and
return postage for one of the many
interesting subjects available.
NAVILIO FILM RENTAL LIBRARY
To Members
5 TO 9 REEL FEATURE. .. .$1.50 A DAY
Send for Membership Blank
Dealers: Write for Interesting Offer
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N..Y.
[Continued from page 255]
camera is tipped to correspond, so that,
at all times, the subject will appear to
be vertical when seen through the view-
finder. The screen result will be star-
tling and, if long continued, the audi-
ence should be supplied with some effi-
cacious cure for seasickness.
Vanishing Americans ■ A varia-
tion of
this auto or train thrill is to have a
subject run toward and jump over a
camera placed on the ground and tilted
slightly upward. The resulting effect
on the screen is that the runner seems
to have jumped in the air and vanished
into space without leaving a trace.
The clinic
[Continued from page 257]
Filming vehicles ■ This title does
not refer to the
making of cinematic studies of wagons,
carts or cars but rather to the means
which amateurs sometimes use to pro-
duce, on the screen, the interesting ef-
fect secured when the camera itself is
moving, as in scenes taken from a car or
train. The most vexing problem is that
of keeping the camera steady. This is
next to impossible when the camera is
held in the hand in shooting from an
automobile. A tripod seems to help
some but it is most important that the
road be smooth and free from bumps
or hillocks. Don't shoot close objects
passing by at right angles to the direc-
tion of motion; this is equivalent to a
rapid hand "panoram" and will only
result in a blur. Shoot, as nearly as pos-
sible, parallel to the direction of mo-
tion, straight ahead or straight to the
rear or at a near angle thereto. The
road of steel upon which a railway
coach travels is more uniform but the
same precautions should be observed.
Shots from the observation platform
are best and, if one desires to give the
impression of traveling ahead on the
screen, the camera may be held upside
down. League director W. E. Kidder
writes, "I make wide use of the twenty
four and thirty two camera speeds when
the camera itself is moving. In an auto-
mobile or railway train, this greatly
improves the picture, at the same time
giving more film in a given time." This
is undoubtedly a great aid in such
shooting, as it will be found to "iron
out" the jerks noticeably.
Asked and answered ■ Question:
In picking
out frames for enlargement, what qual-
ities should I look for so as to get the
best results? Answer: The question is
well put and, if more amateurs would
inspect their pictures for technical qual-
ity in enlarging rather than to pick out
a picture simply for its emotional ap-
peal, there would be more satisfaction
in this field. The qualities in a 16mm.
frame that will give a good enlarge-
ment are first, that it shall be correctly
exposed, second, correctly focused and,
third, that it shall be of a subject which
did not exhibit rapid movement with
respect to the camera. Incidentally, pic-
tures taken from a tripod usually make
the best enlargements.
Breaking down the plot
[Continued from page 252]
than that preceding and slightly less
dramatic than the one to follow until
the high point is reached in the climax
or denouement. Following each crisis,
there must be a drop to the starting
scene in the next sequence and, in good
practice, this start is of slightly higher
dramatic value than the start of the pre-
ceding sequence, just as its apex must
possess greater value than the previous
crisis. The best story outline would re-
veal a graph suggestive of a sawtoothed
line in which each peak is a trifle high-
er than the last and each valley a few
points above the last. Finally the high-
est peak, the climax, is reached, fol-
lowed by a quick drop of falling action
to the close. Often study will show that
a sequence is out of place or that it can
add greater strength to the story if in-
serted elsewhere.
For example, in the plot already sug-
gested, if it is decided that Mary will
marry John, it might be effective to
have a scene in which Henry shows his
unworthiness. If this is seen before
Mary almost accepts him, it will bene-
fit the story more than if it follows, for
then all the [Continued on page 273]
MOVIE MAKERS
271
CloseUDS — What amateurs are doing
JAMES W. MOORE
■ Through special arrangement by
League headquarters with the manage-
ment of the Chrysler Building in New
York City, A. C. L. members will now
be allowed to take movies from the
Chrysler Tower, an outstanding vantage
point for scenic filming of the city.
This unusual privilege has been cour-
teously granted by Chrysler Tower to
League members exclusively, and movie
making visitors to the Tower are asked
to present membership cards for their
identification. In making this announce-
ment of a new and splendid filming op-
portunity, Movie Makers cannot urge
too strongly a courteous respect for
such simple safety regulations of film-
ing from the Tower as may be set up
by its directors.
■ In line with the above announcement
comes the news that all restrictions on
photography have been removed at the
Empire State Building.
■ If you want to record just how a pray-
ing mantis looks when biting a wing
from a grasshopper, follow the filming
advice of W. T. McCarthy, A. C. L.,
Brooklyn, N. Y., and author of Garden
Closeups in this issue. Eight hundred
feet of his garden films screened at
League headquarters showed, in re-
markable telephoto closeups, this cli-
max to a drama of bees, wasps, hornets
and spiders among backyard flowers.
Russell T. Neville
Hidden beauty in cave films
■ Mail addressed simply to "The Cave-
man" has reached Russell T. Neville,
A. C. L., Kewanee, 111., who, in explor-
ing and photographing more than one
hundred twenty five caverns through-
out the United States in fifteen years of
subterranean adventure, has traveled
over a thousand miles in the cellars of
the world. Mr. Neville's movie making
has been as thrilling as it has been un-
usual. All lighting has been from flares,
burnt a half dozen at a time. Air drift
and possible ventilation were always
determined in advance but more than
once a swirling cloud of smoke and
fumes nearly put the final fadeout on
his filming. His expedition into Old
Salts Cave, Kentucky, reached to cav-
erns never before seen by white ex-
plorers and required over fifty one
hours underground, a record in the
Kentucky cave country. On all of his
trips and as active aids in his filming,
Mr. Neville has been accompanied by
his daughter and sister, who are, in his
words, "good cavers."
■ A new and wonderful breed of
chickens was discovered recently in
Guymon, Okla., when Cam S. Wilmeth,
A. C. L., of that city, helped to enter-
tain a meeting of two hundred poultry-
men. Here was the formula: "Take
liquid water colors, a nice warm room
and lots of old rags ; heat colors to luke-
warm degree, grab chick and dunk. Put
chick on paper or rags in sunny place
to dry. To make some fancy birds, place
thumb and fingers firmly over the
chick's head and dunk. Where fingers
were, colors do not reach. Result, a
baldfaced bird!" Then came the cam-
era loaded with Kodacolor and, in a
few minutes, there was recorded a flock
of chickens stranger than the "purple
cow." At the screening, the two hun-
dred poultrymen took the bait, hook,
line and sinker, and begged to know
the secret of this colorful new breed.
Cam finally told them.
■ Located in New York City, which
seems a pretty humdrum place at times,
League headquarters is often sur-
prised and thrilled at the distribution
Movie Makers gets around the face of
the earth. For example, a copy on a
news stand in Dar-es-Salaam, East
Africa, caught the eye of Elmer A.
Quist and brought him into League
membership. And H. W. Corbin, A. C.
L., in Chivela, Mexico, writes to say,
"There is always an open house for any
fellow members who care to come down
for some real shots of tiger hunting."
Also, Pierre de Closey, from Double
Bay, Sydney, Australia, reports produc-
tion of a film of the real Australia,
designed to show that kangaroos do not
roam the alleged one main street of
Sydney, as in the popular opinion of
strangers to the Commonwealth. Like-
wise, two Scotsmen, Ranald MacDon-
ald, A. C. L., Upper Assam, India, and
George R. Stevenson, Sarawak, Borneo,
D. E. I., write they are raising tea and
drilling for oil, filming as they go.
■ The Amateur Cinema League offers
its sincere sympathy to the French
members of our international associa-
tion and to the French readers of
Movie Makers on the occasion of the
death by assassination of the chief of
the French nation, M. Paul Doumer,
president of the French Republic.
CRfl-IG-
On the Craig, you make splices like
the professionals do . . . quickly
▼ . . . easily . . . accurately . . . and
without wetting the film. Have
your cine-dealer demonstrate it
today. Price $15. OO.
Combination Craig Splicer and two
^^ Thalhammer Silent Rewinders,
^m mounted on a laminated board.
Price complete $25. OO-
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
► Exchange Your Library Film 4\
k Complete variety of subjects A
y $1.00 400 ft. $1.00 ^
k Orders shipped the day received a
k Send for lists
Manhattan Film Rental Library ^
V 5115 18th Ave. Brooklyn, N. Y. \
Wm~ Safety Film^Pi
For your 16mm. Movie Camera
PRICE $4.25
Daylight loading 100 feet
This price includes Free Processing with a negative and
a positive print. Also Parcel Post charges.
Send for C|_._-.L„ C;l__ I _L 73 1 'A S. Ferris Ave.
literature iJiraUDe rllm l_aD. Los Angeles. Calif.
Boats of the Great Lakes
100 ft., 16mm., $2.90,
showing boats of all types including 600 ft., freighters
and Soo locks.
THE END TITLES
10 different titles — no two alike — moving and still back-
grounds— each 2'/2 ft. long— $1.00.
H. C. FILM SERVICE
12191 ILENE AVE. DETROIT. MICH.
FACT
FICTION
FUN
$4.50
SPORTS— SCENICS
COMEDIES— EDUCATION ALS
Send for our free catalog — listing a wide
variety of subjects of a fictional, educational
and humorous type. Here's an opportu-
nity to keep your film library up to date at
an exceptionally reasonable price.
EMPIRE SAFETY FILM CO., INC.
723 Seventh Ave.
New York
272
JUNE 1932
SIMPLEX POCKETTE
The Fastest Loading
Motion Picture Camera
Just slip in the film
magazine and shoot!
Motion pictures are now as easy to take as winding a
watch. Complicated adjustments and bothersome thread-
ing have been eliminated. ..No more worry about loops,
sprockets, gates or take-up. You merely flip open the
door. ..slip in the film magazine and shoot!
With the Simplex Pockette you can be confident of
results equal to the highest priced cameras. Sturdy and
compact, it will actually fit the pocket. It is built with
skill and precision by the world's largest manufacturer
of professional motion picture equipment.
Loading can be done in bright daylight and partially
used magazines can be removed without loss of film,
permitting greater picture continuity. The exclusive pat-
ented film counter prevents waste by exposing only the
desired footage.
Ask your leading camera dealer to demonstrate the
new Simplex Pockette or write for further information.
A Product of The World's Largest Manufacturer of
Professional Motion Picture Equipment
INTERNATIONAL PROJECTOR CORPORATION
92-96 Gold Street, New York City
NEW MODEL C SIMPLEX POCKETTE CAMERA
is the thinnest, smallest camera of its type,
weighing only 37 ounces. It has no protruding
parts with the exception of its new and highly
efficient F.3.5 Kodak Anastigmat lens. It uses a
50-foot Eastman film magazine and is equipped
with a variable speed indicator, single picture
control, exclusive double spring motor, auto-
matic stop device and unique pilot pin to insure
"rock-steady" pictures, similar to pro- $i
fessional cameras
(50
MOVIE MAKERS
273
Breaking down the plot
[Continued from page 270]
spectators will be certain that Henry
is a cad and not worthy of Mary.
One important point is to know where
to begin the script. The story of Mary
might start by showing the three as child
playmates, follow them through their
school days and carry on interminably.
But the real story is the story of the
selection. What goes before is merely
the premise and it can and should be
told in a single short sequence. In the
same way, a story should end as quickly
as possible after the big moment. When
Mary decides to marry John, nothing
else of importance can happen in this
plot. John may turn out to be a drunk-
ard. Henry may commit suicide. That's
all part of another story, unless you re-
frame your plot. When Mary decides
to marry John, the story interest ends.
The story itself should end at the same
time.
News of the industry
[Continued from page 261]
cover carrying case. The turntable
easily fits into one of the covers. Of the
amplifying system, no more need be
said than that it is of the high standard
developed by long specialization in this
field. Loudspeaker and amplifier, to-
gether with extension cords, fit into a
second carrying case.
Sound table ■ Amateurs who are in-
terested in securing
the excellent atmosphere which a well
chosen sound accompaniment can give
to the projected motion picture will
wish to investigate the turntable and
motor which has recently been marketed
by the General Industries Company, of
Elyria, Ohio. The device sells for a
very reasonable price, considering its
advantages. Among these we may note
that this motor, which is called the
"Green Flyer," has two speeds, one for
78 r.p.m. records and one for 33 1/3.
The latter are to be had in the long
playing variety and may be so chosen as
to give a musical accompaniment lasting
for the duration of the 400 foot reel.
The motor is well and compactly built
and, in combination with the special,
lead balanced turntable which is fur-
nished, has been found to give an ex-
cellent reproduction of both types of
records. It may be mounted in an ex-
isting phonograph in place of a spring
or other motor or may be used sepa-
rately. Of course it is necessary to use
an electrical pickup and amplifier in
conjunction with this turntable for the
proper reproduction of sound.
OUTDOOR
fa
NIGHT MOVIES
Now Made Easy
Exquisite night effects at garden fetes —
beach parties and campfires — unbelievably
beautiful and realistic — are achieved with
"Newmanlite" Flares — the favorite illumi-
nant of explorers and naturalists the world
over. If you desire 100% effectivity ask for
NEWMANLITE FLARES
Booklet and prices on request. rf'i
i.e.
545 F
. NEWMAN CO., INC.^
ifth Ave. New York^
Green Flyer plays 33 1/3 and 78
Featured releases
for home and school
| This department is for the convenience of
readers i?i guidi?ig them to library films an-
nounced in this issue. These films, in the main,
have ?iot been examined by Movie Makers.
■ Bell & Howell Co., Chicago, 111. Filmo
library releases for June include the following
sound on disc films: Fighting Legion, 7 reels,
with Ken Maynard; Trailing Trouble, 6 reels,
with Hoot Gibson; Mountain Justice, 7 reels,
with Ken Maynard; Roaring Ranch, 7 reels,
with Hoot Gibson; Arabian Knights, 2 reels,
with Slim Summerville; Stop That Noise, 2 reels,
with Sunny Jim; the following all star 2
reel films, All For A Lady, Schoolmates, Gradu-
ation Daze; Hotsy Totsy, 1 reel, with Benny
Rubin; and four, 1 reel cartoons of Oswald,
The Lucky Rabbit, Africa, Alaska, Mars and
China.
| Eastman Kodak Co., Rochester, N. Y. The
most recent Cinegraphs featured in a large list
of splendid films are: 800 foot films, Our Gang
in High Society, Charley Chase in Mighty Like
A Moose, Laurel and Hardy in Do Detectives
Think, Clyde Cook in Starvation Blues; 100 foot
films, Laurel and Hardy in There Was A Time.
Our Gang in The Haunted House, Charley
Chase in One Driver Is Plenty, Our Gang in
Mickey Has Guests, Charley Chase in Why
Those Teeth, Laurel and Hardy in Graveyard
Nights. A 400 foot reel of the 1932 Winter
Olympics is being featured and a new catalog
of Cinegraphs has been announced.
| Empire Safety Film Co., N. Y C. Sport,
scenic, comedy and educational films are of-
fered in the catalog of this company.
| H. C. Film Service, Detroit, Mich. Boats of
The Great Lakes, 100 feet, showing boats of all
types including large Lake freighters and the
Soo locks, is featured in this library.
| Haselton, Guy D., Hollywood, Calif. Big
Trees Of The Yosemite. 200 feet is the latest
attractive scenic film offered by the maker of
On The Waves At Waikiki.
■ Hollywood Film Enterprises, Inc., Holly-
wood, Calif. Five 100 foot films of air thrills,
by Elmer G. Dyer, The Dog Fight, Air Stunts,
Bailing Out, Dead Stick Landing , and Flying
The Mail, are offered on the Cine Art listing as
well as a 400 foot film, With China At The
Front, an unusual record of the recent conflict
at Shanghai.
| Kodascope Libraries, New York City. His
Marriage Wow, with Harry Langdon, From
Hand To Mouth, with Harold Lloyd and Mil-
dred Davis, Two Wagons — Both Covered, with
Will Rogers, and Prudence, with Max Davidson,
are the offerings of this library for June.
■ Reynolds, Ernest M., Cleveland, Ohio. Fea-
turing Pixy Pictures, 25 feet in length and suit-
able for cutting into personal movies or for
children's use, this library also offers a variety
of Gold Seal pictures of 100 feet. A catalog-
is available.
BROOKS PRODUCTS
/&/-MOVIE MAKERS
NEW SCHNEIDER XENON
f/1.3
Superspeed lens for all 16mm.
cameras. 12 times faster than
//4.S. Unsurpassed for ad-
verse light. Excellently cor-
rected. $75. Other Schneider
lenses, 54 to 4" focus, S37.50
and up.
. TRIAX TRIPODS
And tilting and panoram top
. . . light, compact, strong,
rigid. 86.00 and up.
RAMSTEIN-OPTOCHROME
Optical glass filters. No gela-
tine used. Graduated and
plain. S3. 00 and up.
SCHEIBE EFFECT FILTERS
As used by professionals for
the many and varied effects
as seen in the theatres. S3. 00
and up.
BADGLEY FILTER
HOLDER
Fitting all lenses 1%" and
smaller. Grips firmly, adjusts
to any position. $2.85. Now
specially priced with Ram-
011 stein Filters.
AUTOMATIC DISSOLVE
For "fadein," "fadeout" and
double exposure work. Pro-
fessional results obtained with
ease by any amateur. $27.50.
BROOKS FOCUSING
PRISM
Ground glass focusing prism
— an absolutely certain meth-
od of focusing cine lenses in
place on the camera. $6.00.
PRACTOS EXPOSURE
METER
Combination cine and still
gauge . . . compact, simple.
With case, $5.75.
Write for literature on the
above; also on our miniature
focal plane and reflex cameras.
BURLEIGH BROOKS, Distributors
127 W. 42nd St. New York
F
NEIL P. HORNE
1425 Broadway New York
■ PEnn 6-2634 — Telephones— PEnn 6-7747
IRST COMPLETE
SERVICE
We make pictures of Industrial Subjects.
Weddings, Parties, Camps and the Fam-
ily. We project at Offices, Churches, Con-
ventions, Lectures and Entertainments. . .
Export operators. Individualized service.
Distinctive Printed Titles
Plain and original art backgrounds, 25c upward.
Pictures, maps and drawings copied. Samples
gratis. Correspondence invited. Personal at-
tention given your cine and title problems.
Production of professional I6MM. industrial,
dental and travel films.
W. STUART BUSSEY
8I4 N. Meridian St. Indianapolis, Indiana
Lincoln 1207
SIMPLEX FADING GLASS
Make your own fade-in and fade-out. Instruc-
tions and carrying case. Price, complete, $2.00.
SIMPLEX FILM GLEANER
Three methods of cleaning your film are made
possible with this machine. Price $8.00.
PIXY PICTURES
Complete subjects in 16 mm. film. Length 25
ft. Suitable for cut-ins to your own movies or
for children. Large variety of subjects from
which to choose. Price 75c each or three for
$2.00.
Produced by
ERNEST M. REYNOLDS
165 E. 191st St. Cleveland, Ohio
274
JUNE 1932
CI
a s s i r i e
f
v e r t i s i n
g
EQUIPMENT FOR SALE
■ BASS BARGAINGRAM No. 209 is waiting
and ready for you. Send for your copy. Save
bigr money. 100 ft. Peko spring motor wound
16mm. camera with //3.5 lens at $25.50. Latest
Model DeVry G projector, 200 watt bulb, motor
driven, without case at $32.50. Filmo Model
70A camera with 1" Cooke //3.5 lens and case
at §67.50. Sound outfits, professional cameras,
projectors, accessories, 1001 items for the ama-
teur and the professional all in Bass Bargain-
gram No. 209 which will be sent to you free on
request. Write to camera headquarters. BASS
CAMERA COMPANY, 179 W. Madison St.,
Chicago, 111.
■ 16MM. MOVIE cameras and projectors. For
the home, school, church and business organiza-
tions. Literature free. D. F. ELDER & COM-
PANY, Dept. 18, Chelsea, Mass.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOJD CINEMA STUDIOS, 1608 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
■ ONE DOLLAR ONLY — New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ UNUSUAL bargains in movie cameras and
projectors, all makes and sizes including both
16mm. and 35mm. Send for price list and Cata-
log C. MOVIE SUPPLY COMPANY, 844 S.
Wabash Ave., Chicago.
■ ONE MODEL A Cine-Kodak equipped with
//1.9 lens and carrying case, tripod, 3" tele-
photo, slow motion attachment and single pic-
ture attachment; all new and list price of $335.
Will sell for $150. The CAMERA SHOP,
320 S. 5th St., Springfield, 111.
■ ZEISS KINAMO S-10 16mm. camera with
Zeiss y/2.7 lens including 2 supplementary lenses
for close ups, case and 2 rolls panchromatic
film. Brand new outfit for $50. Regular price
8103.50. PHILADELPHIA CAMERA EX-
CHANGE, 1420 Chestnut St., Philadelphia, Pa.
■ BELL & HOWELL projectors. 200, 250
and 375 watt machines. Excellent condition.
Some very late models, $75 to $175, depending
on machine. All guaranteed to be in perfect
working order. WILLIAMS, BROWN &
EARLE, INC., Philadelphia, Pa.
■ ANIMATOPHONE demonstrator sound pro-
jector, amplifier, speaker; like new, complete,
$265. Filmo Model 70 with case, perfect me-
chanical condition, $65. Filmo projector, round
base, $60. PHELPSFILMS, INC., New Haven,
Connecticut.
■ ATTENTION, brand new Eastman Cine-
Kodak Model B, //1.9 lens. Cost $150. Sacri-
fice $65, cash. R. BLANCHARD, 1816 Euterpe
St., New Orleans, La.
■ EXTRAORDINARY BUYS made possible
by purchase from bankrupt stock: 3" //4.5
Eastman telephoto lens, list $45.00, $20.00;
B. & H. Photometer and case, $10.00; Koda-
color filter assembly, $7.00; Dist meter and
case, $5. All regular, unusued stock in flawless
condition. A. H. HALE, Jr., Danbury, Conn.
■ MOVIE SCREENS, beaded or silver. Fold
into leatherette case, 30"x40", $20. Chloride
film, $1.50 hundred feet. R\ E. STUART CO.,
4130 N. Meridian, Indianapolis, Ind.
■ NEW $47 LIST Model B DeVry 16mm. pro-
jector, universal motor, with case, $15. New
home talkie unit to attach to 16mm. projector,
with pickup. Cost $49. Sell for $19.50. Will
ship on 20% deposit with order. FAKRELL &
BUCKMAN, 364 Canal St., New York, N. Y.
■ FILMO 70A with case, $60; photoflood
lamps with reflectors complete, $1.25. Send for
bargain list. CINECRAFT CO., 80 Boylston
St., Boston, Mass.
■ SIMPLEX camera with case, $35; 100'
travel, comedy, $3; 400' humidor, 45c; 400'
16mm. film, $8; 400' disc-sound, $13.98; DeVry
camera, $24.50, case, $3.50; C or D projector,
$33.50, case, $4.50; Risdon-Agfa camera,
$17.49; beaded 30"x40" roll screen, $4.86;
Pathex film, lj4c foot; Eastman splicing outfit,
$1.28; film cleaning outfit, 73c. Pathex, complete
line below list prices, used, guaranteed; B-H
70A camera (and case) $75; 57G projector and
case, $88; Zeiss stereopticon //4.5, Compur-shut-
ter using 130 film, $75 with case. Library, lists.
MOGULL BROS., 1944 Boston Road, New
York, N. Y.
10c a word; minimum cost $2.00. Cash re-
quired with order. Published by Movie Makers
without responsibility for statements. Make re-
mittances to advertisers, not to Movie Makers.
■ 16MM. CAMERA and projector, $9.95 com-
plete. Talkies with disc, $4.50. Panchromatic
reversible film, $2.55. Chaplin, etc. films, $.75
each. Free bargain lists. HOME MOVIE
SERVICE, Box 32, Easton, Pa.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ BEADED SCREEN: 30x40 in frame, reg.
$15.00. VERY SPECIAL, $3.95. Send for our
BARGAIN SCOOP. Everywhere a satisfied
customer. WOLK CAMERA CO., 219 S.
Dearborn St., Chicago, 111.
■ HOLLYWOOD MODEL camera with //3.5
lens, $17.50; DeVry Model B camera and case,
$10; Keystone model C hand drive camera, $7;
Ensign, turret model. Autokinecam with f/2.6,
1" lens and case, $105; Filmo Model 70A cam-
era, 1" lens and case, $105; Filmo Model 70A
camera 1" f/3.5 Cooke lens and case, $75;
Ampro Model B projector, deluxe model, 300
watt bulb, $135; Filmo Model 57C projector,
250 watt bulb, $130; Filmo Model 57 projector,
200 watt bulb, round base, $80; Model B Koda-
scope projector, self threader, 250 watt bulb,
$100; 1" f/2.7 Carl Zeiss Tessar lens in Filmo
mount, $15; 1" f/1.5 Wollensak Velostigmat,
latest model in focusing mount, $32.50; 4J4"
Carl Zeiss Tele-Tessar f/6.3 in focusing mount,
$35; 6" //4.5 Wollensak telephoto in focusing
mount, $40; Dremophot exposure meter for Filmo
cameras, $2.50; Dist meter for measuring dist-
ance, $4.00; title board with 200 celluloid let-
ters, $5.00; Ensign film footage counter, $7.50.
WILLOUGHBYS, 110 W. 32nd St., N. Y. City.
EQUIPMENT WANTED
■ REDUCTION PRINTER wanted. If you
have 35mm. to 16mm. reduction printer you
wish to dispose of, also 35mm. to 35mm. opti-
cal printer, send complete details and price
asked to REGINA PHOTO SUPPLY, Ltd.,
Regina, Sask.
■ WANTED— Either Filmo or Cine - Kodak
equipped for Kodacolor. Must be in excellent
condition and cheap. Also want Kodacolor
screen. GEO. W. CLARK, 1459 Riverside Ave.,
Jacksonville, Fla.
| WANTED, used equipment. comedy and
travel films, art reels. Cash paid. ADAMS ART
STUDIO, 1134 Lincoln Ave., Utica, N. Y.
■ WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott. Mass.
FILMS WANTED
■ WANTED— Good used 16mm. films. 100
200, 400 ft. lengths. Give titles, producer,
price wanted. EASTIN FEATURE FILMS,
Galesburg, 111.
TRADING OFFERS
■ SHOTGUNS, target pistols, rifles and other
good firearms accepted in trade on motion pic-
ture and photographic equipment. Authorized
Eastman, Bell & Howell, Victor, Rhamstine,
Simplex, Pathex and DeVry dealers. NATIONAL
CAMERA EXCHANGE, 5 South Fifth St.,
Minneapolis, Minn.
BINDERS
for
MOVIE MAKERS
Preserve your copies of
Movie Makers in neat
binders.
$1.50 each; 30c additional for
Canadian and foreign postage.
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40th St. New York, N. Y.
FILMS FOR RENTAL OR SALE
■ 16MM. EDUCATIONAL, comedy, cartoon
films consisting various subjects, little used,
perfect condition. Comprise private collection
having served purpose of owner, available at
one-half original cost. Burton Holmes No. 34
Kaui, Garden Island of Hawaii, also same reel
Cinegraph No. 1527, Harwaii, total 200 ft.,
$6.75; Cinegraph, Snap, the Gingerbread Man
in Moon, special; also, Snap, Wildest Africa,
Doodle Bug Circus and Felix All Puzzled, total
400 ft., one reel, $15.00; Cinegraph, Ship Shape,
No. 4510, 200 ft., $7.50; Cinegraph, Wild Men
and Beasts of Borneo, No. 1526, 200 ft., $7.50;
Cinegraph, Bull Fight, No. 1539, 200 ft., $7.50;
Pathegram, Harry Langdon, His Marriage Wow,
No. 7015, 400 ft., $15.00; Pathegram, Harry
Langdon, All Night Long, 400 ft, $1500; 200
ft. of football game Harvard-Yale and Yale-
Army, $7.50; 200 ft. Felix on the Trail and
Felix Finds 'Em Soft, $7.50. Any of the above
films while available will be forwarded prepaid
upon receipt of check in full payment. Not
available on approval. All films will be found
in perfect condition. FREDERICK L. HOL-
MAN, 23 E. Maple Ave., Merchantville, N. J.
■ USED 16MM. SUBJECTS, perfect condition,
as low as $1.75 per 100 feet. Write today for
our free catalog of new and used films at bar-
gain prices. EASTIN FEATURE FILMS,
Galesburg, 111.
■ SEND FOR FREE LIST of our Illini Home
Movie Rental Library for members or nonmem-
bers within a 1000-mile radius. ILLINOIS
CAMERA SHOP, Galesburg, 111.
■ PIXY PICTURES, 16mm. short subjects (25
ft.) complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E.
191st St., Cleveland, Ohio.
■ 35MM. NEGATIVE fresh Eastman and Du-
Pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75
each. Sept rolls, 1 dozen, $3.00. Also lengths
from 50 ft. to 400 ft., at prices ranging from
iy2 to 2V2c per foot. WARRANTED FILMS,
INC., 729 Seventh Avenue, N. Y. C.
■ SELECTED 16mm. 100 ft. new films, $3.75.
Send for list. Art reels our specialty. LIN-
COLN PHOTO SERVICE, 1136 Lincoln Ave.,
Utica, N. Y.
| Big Trees of Y osemite, 200 ft., 16mm.,
price $12.00. On the Waves at Waikiki, 150 ft.,
price $9.75. GUY D. HASELTON, 7901 Santa
Monica Blvd., Hollywood.
FILMS FOR EXCHANGE
■ DON'T EXCHANGE your films, no matter
how low the fee, until you get full informa-
tion about our exchange service and free list
of finest quality subjects available in exchange.
Write today. EASTIN FEATURE FILMS,
Galesburg, 111.
■ JOIN FILM CLUB. Receive new films
weekly and FREE films regularly. Dues fifty
cents. FILM CLUB, Box 205, Oneonta, N. Y.
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE. EXCHANGE PRICES:
400' reel, $1.00; 200' reel, $.50; 100' reel, $.25.
Return postage required. EVERY REEL SENT
OUT CARRIES A GUARANTEE OF 100%
SATISFACTION. QUALITY HAS NO SUB-
TITUTE. Ask for list No. 22. CINE
CLASSIC LIBRARY, 1041 Jefferson Ave.,
Brooklyn, N. Y.
MISCELLANEOUS
■ COMPLETE PRINTING OUTFITS for
movie titles, presses, type, ink, paper, supplies.
Write for catalog. KELSEY CO., D-50 Meri-
den, Conn.
■ ENLARGEMENTS from 16mm. films. We
have special facilities for making clear enlarge-
ments from small films, 5x7 or smaller, $1.50.
Discount on duplicates. THE A. A. STONE
CO., 1492 W. 117th St., Cleveland, Ohio.
■ MOTION PICTURE APPARATUS built,
designed, repaired. Lenses fitted on all cam-
eras. Experimental work. Lowest rates. For-
merly with Paramount-Famous Lasky Corp.
D. DONCASTER, 5-13 Borden Ave., L. I. City,
N. Y. IRonside 6-8767.
■ MAP ANIMATIONS, ten cents per foot.
Titles, two cents per word. End title free.
Editing. Write for samples and literature.
BOX 142. MOVIE MAKERS.
MOVIE MAKERS
275
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Carry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
ARKANSAS
Tbxarkana: H. V. Beasley Co., 200 E. Broad St.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink & Son, Sliattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive.
Fresno: Potter Drug Co., 1112 Fulton Ave.
Sliaver Lake Photo Shop, 910 Arthur Ave.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Hollywood: Beam's Stationery, 141 ^J N. Larch-
mont Blvd.
Bell & Howell Co., 716 N. LaBrea Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
HOLLYWOOD FILM ENTERPRISES, INC.,
6058 Sunset Blvd.
Huntington Park: Huntington Park Pharmacy,
6101 S. Pacific Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-0 Film Co., 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 VV. 4th St.
Marshutz Optical Co., 518 W. 6th St.
Schwabacher-Frey Stationery Co., 734 S.
Broadway.
Tappenbeck & Culver, 10958 Weyburn Ave.,
Westwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Monrovia: Cliff's Photo Art Shop.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
1'. W. Reed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac-
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1U17 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
Phil Lasher, Ltd., 300 7th St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Pedro: Sunset Photo Supply, Inc., 319 W.
6th St.
San Rafael: Webb & Rogers, 4th and B. Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: J. W. Collinge, 1127 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton : Logan Studios, 20 N. San Joaquin
Peffer Music Co., 40 S. California St.
Vhntura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Ford Optical Co., 1029 16th St.
Haanstad's Camera Shop, 404 Sixteenth St.
Grand Junction:. Dean's Camera Shop, 639
Main St.
CONNECTICUT
Bridgeport: Fritz St Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Hartford: Harrison Harries, 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co., 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
McDaniel Gift Shop, 21 W. Forsyth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
Miami Beach: Cox Studios, Roney Plaza Hotel.
J. R. Willis, 737 Lincoln Road.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
ILLINOIS
Chicago: Associated Film Libraries, Inc ,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
1645 Orrington Ave.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 Washington St.
Post Office News Co., 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
WOLK CAMERA CO., Opp. Post Office, 219
S. Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermillion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc.. 702 Church St.
Freeport: Emmert Drug Co., 15 W. Stephen-
son St.
Gai.esburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort: Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Carroll: Rexall Store, 120 W. 5th St.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 803
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing, Inc., 419 Pierce St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp-Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St.
Dadmun Co., 39 Washington St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Brockton: Iris Pharmacy, 230 Park Blvd.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Movie Service, 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Tewksbury: Mark J. McCann. 23 North St.
Worcester: J. C. Freeman & Co., 376 Main St.
Harvev & Lewis Co.. 513 Main St.
L. B. Wheaton, 368 Main St.
(Continued on i>age 276)
276
JUNE 1932
(Continued from f>age 275)
MICHIGAN
Bay City: Bay City Hdw. Co., Sporting Goods
Dept., 1009-15 Saginaw St.
Detroit: CLARK CINE-SERVICE, Em. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St._
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co., Dept. 290.
E. B. Meyrowitz, Inc., 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Camera Shop, Inc., 16 Monroe
Ave.
Photo Service Shop, 44 Monroe Ave.
Jackson: Royal Film Service, 125 Jackson Ave.,
W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeh Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange. 5 S. Fifth St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Hanley's Photo & Radio Shop, 116 E. 10th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O.
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artists Photo Service, 19 4th St.
Maplewood: John H. Osmun, 174 Maplewood
Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfield: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Ridgewood: Chapman Sales & Service Co., Inc.,
56 Godwin Ave.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
Vineland: Robbins Photo Service, Inc., 615
Landis Ave.
West Englewood: C. M. Vanderbilt, Inc., 374
Briarcliffo Rd.
West New York: Rembrandt Studio, 526 "cl"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
F. E. Colwell Co.. 465 Broadway.
IIinghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St. .
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 350 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
ABE COHEN'S CAMERA EXCHANGE, 120
Fulton St.
COLUMBUS PHOTO SUPPLY, 146 Colum-
bus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop, Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Hecker's Camera Store, 1519 Amsterdam Ave.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand. Times Bldg.
Lugene, Inc., Optician. Main Store. 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
LUMA CAMERA SERVICE, Inc., 302 W.
34th St.
Marcus Photo Service, 1170 St. Nicholas Ave.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz, Inc., 520 Fifth Ave.
Mogull Bros., 1944 Boston Rd.
New York Camera Exchange, 109 Fulton St.
Y. Nomi, 174 W. 95th St.
Parker and Battersby. 146 W. 42nd St.
Pickup & Brown, Inc., 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
Frank Tanham & Co., Inc., 9 Church St.
G. Tankus, 837 Seventh Ave.
WILLOUGHBYS, 110 W. 32nd St.
Pelham: Kolf & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley, Lindsay & Curr Co., Camera Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Lincoln Photo Service, 1136 Lincoln Ave.
White Plains: Cooper Bros. & Co., Inc., 56
Main St.
Yonkers: Joseph F. Blatzheim. 4-6 Riverdale
Ave.
NORTH CAROLINA
C«*rlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard.
Canton: Roth & Hug Co., 539 N. Market Ave.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416 J i Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Public Square.
Home Movies Co., 1501-7 Superior Ave.
Lyon & Healy, Inc., 1226 Huron Rd. at
Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply, 62 E. Gay St.
Don McAlister, 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams. 2028 E. Third St.
Findlay: Dav Radio Shop, 111 E. Sandusky St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth : F. E. Fowler, 824 Gallia St.
Steele Drug Co., 424
Eng. Co., 226-36
Steueenville: Beall
Market St.
Toledo: Franklin Print.
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Cottage Grove: Nelson Electric Shop.
Eugene: Stephenson's, Inc., 1016 Willamette St.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lancaster: Darmstaetter's, 59 N. Queen St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio, 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N
Washington Ave.
Shamokin: Jones Hardware, Sporting Goods
Dept., 115 E. Independence St.
Goods Dept., 115. E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Newport: Rugen Typewriter & Kodak Shop,
295-7 Thames St.
Pawtucket: Thomas N. Simpson, Broadway and
Exchangu St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Chas. G. Lord Optical Co., 704
Main.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co.. 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks, 119 W. Holly St.
Pasco: New Pasco Drug Co.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
Lowman & Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. 4,
707-11 Sprague Ave.
MOVIE MAKERS
277
Joyner Ding Co., Howard & Riverside Ave.
Tacoma: Eastman Kodak Stores, Inc., 91U
Broadway.
Wenatchee: Wheeler's Photo & Gift Shop, 33
N. Wenatchee Ave.
Yakima: Yakima Book & Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Charleston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Pond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service, 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 Milwaukee
St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosh: Coe Drug Co., 128 Main St.
Waukesha: Warren S. O'Brien Commercial
Studio, 353 Broadway.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon : Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (South Africa) Ltd., "Ko-
dak House, "Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South It ales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Kodak (Australasia) Pty., Ltd.. 37
Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Authorized Agency, 179 Elizabeth St.
West Australia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
AUSTRIA
Vienna: Siegfried Wacht!. VII Neubaugasse 36.
CANADA
Aiberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg.,- Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Film & Slide Co. of Canada, Ltd., 156 King
St., W.
Lockhart's Camera Exchange, 29 Richmond
St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave., at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St.,
W.
Film & Slide Co., of Canada, Ltd., 104 Drum-
mond Bldg.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHILE
Santiago: Casa Heffer, Calle Estado 242.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393 Nan-
king Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam-
eras, Senovazuna, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Cohn, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, 86 Accrington Rd.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C: Wallace Heaton, Ltd., 84
Aldersgate.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: \. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd., 119
Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Sands, Hunter & Co., Ltd., 37
Bedford St., Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 New Bond St.,
4 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., 400 Oxford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak Ltd., 32 Grainger
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, 1.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str., 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Capi, Broerstraat 48.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz, U-4.
INDIA
Ahmebabad: R. Tolat & Co., Bawa's St. Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
M. L. Mistry & Co., 46 Church Gate St., Fort.
Calcutta: Photographic Stores & Agency Co.,
154 Dhuramtolla St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Fukada & Co., 2 Chome Kitakyutaro
Machi, Higashiku.
Shueisha, 25, Kitahama 4 Chome, Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini, S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth : L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
Te Aro Book Depot, 64 Courtney PI., Gas
Company's Bldg.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine. 103y2 St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
Paisley: J. Lizars, 27 High St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol. 4.
Avenida Conde Penalyer 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Clieong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 3$ Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo C©., 39 High St.
SUMATRA
Medan: Y. Ebata S: Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Friestrasse 74 (Sodeck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Winterthur: Alb. Hoster, Marktgasse 57.
Zurich: Ganz & Co., Balinhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co., Bahnofstr. 61.
VENEZUELA
Maracaibo: MacGregor & Co., Apartado Postal
No. 197.
$3 a year (Canada, $4.00,
Foreign, $3.50) ; 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
s
quire
Koda
says:
"June is a
month of
brides and
her legal
roses and I pinned many a bride to
spouse who wasn't much of a rose herself. But I'm going
to enter a nolle pros against the next movie maker that
tries to set me down to a solid hour of pictures of his
daughter's wedding. I've spliced too many to get all het
up over the evidence. My boy, down at the KODASCOPE
LIBRARIES in New York, says, since they closed up all
the speakeasies in his town, everybody wants to rent his
company's pictures so as to get the guests in the right mood
to see Our Motor Trip Through The Rockies. He says
they save money and next morning headaches."
HARRY LANGDON in HIS MARRIAGE WOW is in the
mood of the month and Squire Koda gladly pins a rose on
this one. He says that the law in PRUDENCE, featuring
MAX DAVIDSON, must be city law and that it wouldn't
get by in his court. He wants to disbar the lawyer in FROM
HAND TO MOUTH, with HAROLD LLOYD and MIL-
DRED DAVIS. WILL ROGERS in TWO WAGONS,
BOTH COVERED has more fun with the Rockies than a
movie amateur with his Cine-Kodak upside down.
Cheer up your movie partv FIRST with our "PICTURES
THAT PLEASE."
Branch Libraries and Distributors in fifty five of the leading cities
of the United States and Canada.
LIBRARY MEMBERSHIP NOT REQUIRED
But recommended because of extra advantages and economies afforded
RECENT REDUCTION IN RENTAL RATES
Nonmembers now rent at catalog rates. Members enjoy a 10% discount
NEW ILLUSTRATED DESCRIPTIVE CATALOG, FOURTH EDITION
contains many new subjects, drops many of the older ones and reduces
rentals of many others. 400 reels at average rental of less than 90c each!
Average rental entire library (nearly 900 reels) only $1.09 each. You can
rent twenty to forty reels for the cost of one!
ATTRACTIVE PROPOSITION
to dealers who desire profits from operation of their
own film rental libraries. Our experience and resources
assure the success of our distributors. No risk. Send
for booklet "How The Kodascope Library Brought Pros-
perity To Our Store."
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
SUBSIDIARY OF EASTMAN KODAK CO.
Printed by WNU, New York
With these
FILMS
you're ready to
make the most of every
picture opportunity
Black and white movies, indoors and out,
in the daytime and at night... full color
movies even when the sky is overcast.
Cine
Safety FUxn
«otob-S
FOR outdoor work, Cine-Kodak Panchro-
matic Film gives you a black and white repro-
duction that's amazingly beautiful. It reproduces,
in the proper black and white values, all the
colors of natural light. A film that records the
usual shot with unusual clarity of tone grada-
tions. Cine-Kodak Panchromatic Film costs but
$6 for the ioo-foot roll; 50-foot roll, $3.25.
CINE-KODAK Super-sensitive Panchro-
matic Film puts your Cine-Kodak on
24-hour duty. Twice as fast as Cine-Kodak
"Pan" in daylight... three times as fast under
artificial light. When used with 35 cent
Mazda Photoflood Lamps you can make any
in-the-home shot at night. Here's a film for
any kind of day and any time of day. Cine-
Kodak Super-sensitive Panchromatic Film
costs $7.50 for 100 feet; $4 for 50 feet.
Eastman Kodak Company, Rochester, N. Y.
EASTMAN Super-sensitive Kodacolor Film
unfolds new and inviting opportunities
for the making of full color movies on dull
days or in open shade as well as in direct sun-
light. Eastman Super-sensitive Kodacolor Film
is priced the same as the original Kodacolor
Film (now discontinued) — $9 for the 100-foot
roll; $4.75 for the 50-foot roll.
Only a
fine camera
can take fine
movies
• Filmo jo-D. Versatile, rugged, the master
of all personal movie cameras. Seven speeds
. . . Three-lens turret head . . . Variable
viewfinder . . . Critical focuser if desired. In
beautiful Sesamee-locked Mayfair case, $245
and up.
• • •
• Filmo 7/. Compact,
light iveight, handsome.
A fine camera by itself
. . . and the ideal SEC-
OND camera for Koda-
color. Priced at only $92,
or $9 9. jo with case. Com-
pletely equipped for Koda-
color, case included, only
$149.50, the lowest priced
color movie camera.
This vacation take along a FILMO . . .
The old nursery rime of Simple Simon fishing Chicago; New York, Hollywood, London
for whales in too shallow water has an apt (B & H Co., Ltd.) Est. 1907.
application today. In 1932 as always, the re-
sults in any line can be no better than the BELL & HO W ELL
equipment used. „^ ^^ ^^m^
Experienced movie makers know that Filmo m-4 I m l\ m m
Personal Movie Cameras ami Projectors mean I 1 Mi W m
fine movies because they are fine equipment M , JL M m -JL» ▼ JL. ^^.^^
. built by Bell & Howell, for 25 years Personal Movie Cameras and Projectors
makers of the cameras used in professional
Studios . . . built not just to sell but to assure Made by the world's leading manufacturers of finest qual-
11 -ii , lty professional and personal motion picture equipment,
the best possible pictures on the screen. ' r r r n r
Make sure of bringing back, from this vear's Bell & Howell Co., 1843 Larchmont Ave., Chicago
vacation, movies that will be a joy to see and please send .f^jour bocok °" Phonal movie maklnS
1 r ■ 1 t-. 1 , ' J ^ equipment: What loubee, louCret.
to show your friends, laive along a Filmo. r
Sec the nearby Filmo dealer. Or send the cou- Name
pon for our book of 1932 personal movie mak- Street Address
ing equipment: "What You See, You Get."
Bell & Howell Co., 1843 Larchmont Ave., .„_
PROFESSIONAL RESULTS WITH AMATEUR EASE
Magazine of tlte Amateur Cinema League, Bait
JULY, 1932
S5c
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street
New York, N. Y., U. S. A.
Date
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc.
My remittance for $ made payable to AMATEUR
CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of
this amount, I direct that $2 be applied to a year's subscription to
MOVIE MAKERS. (To nonmembers, subscription to MOVIE MAK-
ERS is $3 in the United States and possessions; $4.00 in Canada;
$3.50 in other countries.)
MEMBERSHIP $5 a year (CANADA $6)
LIFE MEMBERSHIP $100 in one payment
and no further dues.
Name Street
City State Country
One of the Amateur Cinema League's animated leaders is free with
this membership. Please state width vou wish — 16mm. — 9.5mm. — 35mm.
JL-32
Tools plus knowledge
are the essentials to
accomplish anything
ELSEWHERE in this number of Movie Makers the tools
of amateur movie making are offered by its advertisers.
They are excellent tools, made by high grade companies
and capable of serving you well and long. But they are tools
and they will serve you best if you know how to use them to
bring the best from them.
The Amateur Cinema League steps into the picture here. It
provides you, at a remarkably low cost — actually less than
your first hundred feet of film — with access to the knowledge
that every movie amateur should have to carry on this fruitful
hobby with complete satisfaction.
The League gives you personal and special answers to all of
your movie making problems by letters that are individual
and not forms. We have consultants whose business it is to
give you what you want and request. Movie Makers comes to
you every month as a part of your League membership. Bul-
letins are published periodically which you may receive for
the asking and that are given to none but members.
To obtain these services, new arrivals in movie making are
flocking into the League every month. Have you floundered
a bit and would you like the help that they are getting? It
can be yours at a very inexpensive figure.
Five dollars a year
AMATEUR CINEMA LEAGUE, INC
105 West Fortieth Street
New York, New York, U. S. A.
MV 28 1932
283
©C1B 159050
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII July, 1932 Number 7
Cover design Arthur Strong
Back yards, editorial 289
A camera in camp Epes W . Sargent 291
With what is at hand Theodore G. Rockwell 292
The clinic Russell C. Holslag 293
Filter facts George IV. Hesse 294
Kodacolor, unlimited John V. Hansen 295
Vacation cameras Clara L. Brock 296
There's lots of fun in splashes Ernest W . Page and William A. Palmer 297
Strike up the band ! Russell C. Holslag 298
Amateur clubs fames W . Moore 299
Once in a few csnturi:s J. V. D. Bucher 300
Practical films 301
News of the industry 304
Around the world with Movie Makers 316
Free films 317
Featured releases 321
Closeups 322
Editor
ARTHUR L. GALE
MOVIE MAKERS
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign $3.50 1 ; to members of the
Amateur Cinema League, Inc., $2.00 a year, postpaid (Canada $3.00 1 ; single copies, 25c. On sale
at photographic dealers everywhere. Entered as second class matter August 3. 1927, at the Post
Office at New York, N. Y., under the Act of March 3. 1879. Copyright, 1932, by the Amateur Cinema
League, Inc. Title registered at United States Patent Office. Editorial and Publication office: 105
West 40th Street, New York, N. Y. Telephone PEnnsylvania 6-6836. Advertising rates on appli-
cation. Forms close on 10th of preceding month.
KUSSELL C. HOLSLAG • Associate Editor
JAMES W. MOQRE Assistant Editor
ALEXANDER DE CANEDO Art Editor
284
JULY 1932
IN 1932 AS IN THE PAST
FILMO
is the camera
for those who
love fine things
• Filmo yo-D. Versatile, durable, the master
of all -personal movie cameras. Seven speeds
. . . Three-lens turret head . . . Variable
view finder . . . Critical focuser if desired. In
beautiful Sesamee-locked May fair case, $24}
and up .
• Filmo 7/. Compact, light weight, handsome. A fine camera by itself . . . and
the ideal SECOND camera for Kodacolor. Priced at only $92, or $99.} 0 with
case. Completely equipped for Kodacolor, case included, only $149.50, the lowest
priced color movie camera of 100-foot capacity. Filmo Projectors, $150 and up.
• BELL & HOWELL •
FILMO
Personal Movie Cameras and Projectors made by the world s leading
manufacturers of finest quality professional and personal motion pic-
ture equipment.
Bell & Howell Co., 1843 Larchmont Ave., Chicago
Please send me your book on personal movie making equipment: "What You See, You Get.
Name
Street Address
Citv
.State.
THERE are people who love
fine things for their very fine-
ness. People who seek only the
worth-while, the enduring, in
their working lives and in their
leisure-time amusements. People
who, because their tastes are fine,
demand quality and permanence
in the things they buy and use.
These people make up the bulk of
the growing army of personal
movie enthusiasts. For among
healthful and worthwhile amuse-
ments, what finer one can be found
than to make and show movies of
one's growing children, travels
and vacations, out-door sports.
For these people, Filmo is made.
Because they demanded fine equip-
ment for a fine purpose, Filmo
from the beginning has been so
well constructed that no Filmo
has ever worn out; so precisely and
carefully engineered that it has
inevitably meant better movies.
For these people, the fineness of
Filmo is maintained. In these
times, as in the past, notwith-
standing passing conditions, no
deviation has been permitted from
quality in this camera made by
Bell & Howell, for 25 years
makers of the movie cameras
used in professional studios.
People who love fine things have
given Filmo first rank for quality
in the personal movie field. Surely,
the movies you take of your vaca-
tion trip, your children, your
sports, deserve to be profession-
ally fine. Mail the coupon for our
book of first-quality movie-mak-
ing equipment: "What You See,
You Get." And see the nearbv
Filmo dealer. Bell & Howell Co.,
1843 Larchmont Ave., Chicago;
New York; Hollywood; London
(B &HCo., Ltd.) Est. 1907.
PROFESSIONAL
RESULTS
WITH
AMATEUR
EASE
MOVIE MAKERS
285
Morgana Color Process
for Filmo Cameras and Projectors
The Filmo 70 Morgana Camera,
illustrated, has five film speeds
—8, 12, 16, 24, and 32, Cooke
1-inch F 3-5 lens in focusing
mount; single-lens head; and
70-D type governor and spring.
Morgana filter instantly remov-
able for taking black and white
or Kodacolor pictures. Price,
$190, complete.
The Filmo 57 Morgana Projector,
illustrated, is basically the Filmo
57, 300-watt Projector plus the en-
cased Morgana color wheel and
internal mechanism changes. Color
wheel is instantlv removable for
showing black and white films.
Price, $210. Other Filmo Morgana
Projectors with variable resistance
and other lamps at prices ranging
upward.
m*. y-
The Morgana Color Process, invented by Lady
Williams of Pontyclun, South Wales, is considered
by far the best two-color additive process that has
appeared in the past 25 years. Bell & Howell have
now designed Filmo Cameras and Projectors with
which Morgana color pictures may be effectively
taken and shown.
The Morgana Process does not parallel the advan-
tages of three-color systems, but has these major
distinguishing features:
1 Regular panchromatic reversal film is used.
2 Duplicates may be made just as from pan-
chromatic reversal film exposed for black
and white movies.
3 Any Filmo Camera lens may be used. The
filters in the camera are behind the lens seat.
4 Pictures may be taken under adverse light
conditions. Merely open the lens one stop to
allow for the two-color filters.
5 Screen pictures 10 feet wide may be shown.
Correspondence is invited. Details on your con-
templated color film work will aid us in advising
you. Bell & Howell Co., 1843 Larchmont Ave.,
Chicago; New York; Hollywood; London (B & H
Co., Ltd.) Established 1907-
THESE BELONG IN EVERY MOVIE-MAKERS KIT
Cooke Telephoto Lenses
Long distance photography is clear-cut
and wholly satisfactory only with such
finely made lenses as Cooke Telephotos.
Cooke Lenses, famed for their sharp defini-
tion, used exclusively by most professional
cinematographers, can be obtained for per-
sonal movie cameras only from Bell &
Howell. 2-inch F 3.5, $60; 3-inch F 4,
$62.50; 4-inch F 4.5, $60; 6-inch F 5-5, $65;
6-inch F 4.5 at $95. Send for complete
literature.
The B & H Photometer
Easy to use as a flashlight; scientifically
right exposure readings in 10 seconds.
Under any condition of natural or artificial
light, the B & H Photometer gives positive
assurance of correctly exposed film. You
sight through the eye-piece, seeing your
subject while you take the reading on
exactly the important portion. Model A,
for Filmo Cameras, $17.50 (With case,
$20.) Model B, calibrated for still photog-
raphy, at the same price.
BELL & HOWELL • FILMO
• PERSONAL MOVIE CAMERAS
PROJECTORS
ACCESSORIES •
286
JULY 1932
a
This Electrophot
showed me what
my camera really
could do ... "
PAYS FOR ITSELF IN
FILM SAVED. NOW ONLY
$30. COMPLETE IN U. S.
MANY owners of the ELECTROPHOT, photoelectric exposure
meter, tell us that it has opened up new fields for them in movie
making and has raised the quality of their photography to a new level.
This enthusiastic comment is borne out by the proved performance of
ELECTROPHOT in the hands of amateur movie makers the world
over. Simple, easy to use, it has swept aside all barriers to fine photog-
raphy, and so simplified the process of exposure setting that no problem
remains.
You, too, now can realize the full pos-
sibilities of your camera . . . take those
quick shots . . . tackle specialized work
or difficult situations with the knowl-
edge that in ELECTROPHOT you
have an authoritative guide for suc-
cessful exposures.
Instantly, automatically and with sci-
entific accuracy ELECTROPHOT
tells you the correct exposure for a per-
fect picture. You simply sight it
through the Reflex viewfinder and
press the button. A glance shows the
correct lens setting on a dial grad-
uated from //l to //32, including the
full range of your camera lens.
ELECTROPHOT avoids all time wast-
ing, confusing technicalities. It asks
no careful judgment or approximations
from you. You don't have to squint
through a tube or adjust any sliding
scales . . . nor depend upon the vari-
able reaction of the human eye.
It saves time ... it gets those quick
shots surely ... it SAVES FILM by
eliminating exposure errors. Every
shot is a successful oae! Those scenes
you are so anxious to record become
perfect pictures to relive on the screen
clearly and vividly.
Ideal for difficult shots . . . for indi-
cating whether color or other special-
ized work is possible . . . for interior
scenes . . . for using the new super-
speed film. Above all . . . it is a FILM
SAVER.
ELECTROPHOT is science's latest
development in light-measuring de-
vices— the photo-electric cell — made
available in a simple, compact form.
Developed on proved principles em-
Do you
use a STILL camera?
Now there is an ELECTROPHOT for
STILL camera work. Similar in design,
operation and size to the movie model.
Graduated dial for quick, easy use. A
glance at the handy chart and you have
the correct lens setting for perfect
stills. No guessing or calculating.
Equally valuable for interior, color fil-
ter and other special work. Complete
with case, $3 0.00 in U. S. Ask your
dealer for the folder.
ployed in talking motion picture work,
color sorting machines, photometry,
etc. Fits your camera case, replacing
a roll of film. Weighs about 16
ounces and has its own genuine
leather carrying case.
Correct exposure is the most important
factor in photography. ELECTRO-
PHOT assures it. An essential instru-
ment for every amateur who wants
good results. See it at your dealer's, or
write for descriptive folder.
(J*'^/\in the U. S., complete
*PO\/ with genuine leather case
ELECTROPHOT photoelectric exposure meter is a product of
J. Thos. Rhamstine*, 501 E .Woodbridge St., Detroit, Mich.
Manufacturer of Precision Electrical Apparatus for 12 Years
MOVIE MAKERS
287
JUST BY
PRESSING
For Owners of 16 mm. Projectors...
WILLOGRAM
PRODUCTIONS
Now Available at
tp «$•#«) per reel (100 feet each)
They're first grade, sharp and
clear quality pictures — usually
sold at much higher prices.
Printed from perfect negatives,
assuring you absolute satisfaction.
Here are a few suggestions from
our list of popular subjects:
THE RODEO'
RACING WHIPPETS"
MONKEY SHINES"
KIDS AND PUPS"
DARING FEATS"
CHARLIE CHAPLIN IN "THE
TURKISH BATH"
CHARLIE CHAPLIN IN "ALL
WET"
CHARLIE CHAPLIN IN THE
INTERIOR DECORATOR"
CHARLIE CHAPLIN IN "A
HOT SPOT"
CHARLIE CHAPLIN IN "THE
SLEEPWALKER"
"FIVE MODERN SAMSONS"
"ANIMAL TRICKS"
#15
#16
#17
#18
#21
#25
#20
GENE SARAZEN on
"GOLF" in FOUR 100-ft.
REELS @ $3.75 EACH
BILL TILDEN on
"TENNIS" in FOUR 100-ft.
REELS @ $3.75 EACH
And many others. New sub-
jects are being added con-
stantly. Send jor complete list.
WlLLOUGHBY
.... New York City
and back to normal in an
instant . . that's one of the
many advantages of the
Ensign i6mm. super Kinecam
It's made so that the shutter can be set for 64 pictures per
second when you press the button all the way — when you re-
lease it halfway, it takes the regular 16 pictures per second
in normal manner. No further adjustment is necessary. No
stops. No hesitation.
It's a remarkably fine camera, the most popular in the 16 mm.
field, and the price is only $175, including the 1" lens, and the
genuine leather, velvet-lined case, which carries four rolls
of film besides the camera. Reverse attachment for rewind-
ing film, $20 extra.
and these additional advantages:
— F/2.6 Cinar Anastigmat Lens.
— Triple Revolving Turret Front.
— 5-Speed Shutter— 8, 12, 16, 32, 64.
— Revolving Tri-optic Viewfinder with Pris-
matic Close-up Finder.
— Double Claw Mechanism, Die-cast Body and
Precision-cut Gears.
— Hand Crank and Motor Drive.
s
110 West 32nd Street
Standard Lens Mount Accommodates any Lens.
Send for Booklet.
288
JULY 1932
The Model 5 VICTOR, illustrated above is priced at $180.00
with the Hugo Meyer F 2.9 one-inch Trioplan lens. (Pre-
viously priced at $220.00.) New Price includes Tax.
The New Victor 5 will appeal to you as being the most beautiful, the
most complete, the finest of all 16 m/m cameras! The Model 5 is the
original visual focusing, turret front 16 m/m camera. Now it
has many more new features to lift it even farther beyond competition
.... a new graduated dist-a-sight; an audible-visible film meter;
ATTACHED WINDING CRANK; FILM LOOP GUARD; COLLAPS-O-STRAP HAN'
dle; and rich, gold flecked brown lava finish with satin black and
chrome plate trim .... at a great reduction in price!
The exquisite beauty and amazing performance of the New 5 will thrill
you. Its new low price will delight you. Don't envy the other fellow . . .
Own a Victor yourself. Ask today to see these new Victor Values.
Lenses oj all makes, speeds and focal lengths are interchange-
able on Victors. May be equipped for KODACOLOR also.
The VICTOR Model 3 Camera
(one lens, 3 speeds) has won inter'
national fame through its fine perform-
ance and ingenious simplicity. Equip-
ped with 20 m/m Dallmeyer F 3.5
FIXED FOCUS lens, it is now priced
at only _ _ _
Jfa NEW
VICTOK.
POCf\.£T
TITLtPv
IO
TAX
INCLUDED
Now you can make your titles any-
where, anyplace, right in between
scenes. The Victor Pocket Titler (for
Victors and Filmos) folds up and
slips in the pocket. Order now and
"Title As You Go"!
■PRECISION
bUT^A LOT
^MOK€,TOO
IN a DEPENDABLE 16 m/m Movie Cam-
era mechanical precision is essential — ahso-
lutely essential to insure continuous satisfac-
tory performance! VICTOR has no peer for
mechanical precision.
But precision alone is not enough. You want
Proper Design and Correct Principles. You
want Completeness, Flexibility, Convenience
and ingenious Simplicity. You want VALUE.
You want ALL that VICTOR has built into
the New MODEL 3 and 5 CAMERAS to
insure superlative movie making results.
ASK YOUR DEALER TODAY to show you
why you want a VICTOR .... the only 16
m/m camera with a 3-YEAR GUARAN-
TEE.
Victor Animatograph Corp.
DAVENPORT, IOWA, U. S. A.
289
T
L
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima' ohio
LEE F. HANMER New York CltV
W E KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
ROY W. WINTON Managing Director New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
HE old Latin phrase, "the narrow things of
home/' has come to have a finer meaning to
nearly everyone in the world in these days of
disturbed finance. The somewhat contemptuous
tolerance of a few years ago towards the stay at
homes has given way to a growing suspicion that
more of us may have to stay at home ourselves than
anyone had thought possible in these days of
enormously expanded travel. There is a definite
examination by intelligent people of the joys and
satisfactions to be found within the intimate limits,
the "narrow things," of our homes and of our home
towns. The needed emphasis upon family life, the
intensification of those realities that lie within us is
essentially constructive and not retrogressive.
Those amateur filmers who may be girding
against restrictions upon their travel that are im-
posed by altered circumstances can well say that it is an ill wind, indeed, that
blows nobody good. For they will begin to discover, by dint of necessity, the
wealth of things to film that are ready at hand. They will find that the micro-
cosm of amateur movies is equally fascinating, compared to the wide world
that they have adventured before, in their days of wider ranging.
It is not even necessary to go out of the house to find subjects to film. "Table
top" movies are good for as many reels as one may want. The filmer here has
absolute control of his media and what he wills, he may accomplish. Imagination
and invention turn the trick, for it is literally a trick. Supersensitive film and
strong lights remove all handicaps except those that lie in the mind of the ama-
teur himself. If a film adventurer will take a leap into the realm of the so called
abstract, he will find enough machinery in the average home to give him motion
studies of great variety, from egg beaters and running water to washing ma-
chines and electric fans. When the cine camera moves out into the garden, not
only is there beauty but also drama and tragic drama of the most intense kind
among the insect dwellers, as was so well set forth in June MOVIE MAKERS by
Mr. McCarthy. A small but exceedingly complex world is free for the re-
cording. Again, the filmer who sets for himself a domestic limit can record for
posterity the veritable human document of his own time, filled with the little
details which will pass from his own memory a decade or two hence. We de-
pend now upon the chance entries of diaries for the manners and customs of the
Eighteenth Century, so that we may approximate a reconstruction of vanished
times. Every camera owner is a potential Pepys or de Sevigne for the year 2080.
The neighborhood and the home town are ever widening
circles of cinematic interest. The camera owner who makes
the most of present necessity will say to himself ten years
from now, "How thankful I am that I had to stay at home
in 1932, because I got those films that I should never have
taken otherwise." He will have become an authority be-
yond chance of contradiction on what happened in this puz-
zling year. It is beyond the limits of modesty and good taste
for the movie amateur to vaunt his good fortune in posses-
sing the antidote for the "depression blues," but he certainly
can offer a little sane contradiction to his neighbor who —
and whose wife — may have settled down to a "weathering
through" process in all grimness, by saying to him, "Get a
movie camera and discover your own back yard."
Back yards
MOVIE
MAKERS
291
A camera in camp M
A filming program
for camp counselors
OVIE cameras are becoming almost as
standard in camp equipment as the
coffee pot, with more and more direc-
tors of summer camps turning to this invaluable
pnpc \w QARCFNT means of holding interest. Many camps now
boast a library representing the accumulation of WHO 3rCC3mCr3ITI6n
several years. And the use of the camera is not
limited to camps for boys and girls. All last
winter a dude ranch circulated a picture to solicit business and found it an admirable
supplement to the catalog. The advertising reel works well if the producer bears in
mind his experiences as a radio listener in and remembers to include sufficient enter-
tainment value to compensate for advertising.
Many of the camp programs this season will include making a definitely adver-
tising reel to be shown next winter and spring. The portability of the modern projector
makes this an inviting possibility, but advertising is most effective when it is indirect
and inferential, devoid of long, argumentative subtitles. The ideal program of film
work for the camp season includes making a propaganda picture plus a number of
shorter and simpler story subjects, which may be filmed in a day or so and later
screened for the camp assembly. Since the advertising picture would be the longer,
it would be better to plan it first.
It is not possible to outline definitely an advertising scenario that will fit all
camps, but the following loosely written synopsis will convey the idea. Open with a
general shot of the camp, with an approximation of a birdseye view, coming in for
a medium shot and then a still nearer view. Then use a subtitle such as, On the
wooded shores of Clear Lake, N. Y. This would be followed by a view of the shore
from the lake and a sequence of scenes, each one nearer the camp. Then would come
a title about water sports offered by the camp which would be followed by a series of
scenes depicting them. This series would begin with the minor water sports, boating,
canoeing and water games and it would end with general views of diving and swim-
ming and, finally, cine studies of especially fine performances by the camp's best
athletes. If scenes of swimming instruction are to be included, they could be inserted
with an appropriate title just before the closing sequence of the skilled divers. This
provides an opportunity for implying that the youngster at the camp will be so
trained that he will eventually match the best. The section of the film on water sports
would be followed by a sequence of hiking. Instead of showing the beginning of a
hike, start with views of one under way. Take three or four scenes from different
angles, with the action generally toward the camera.
If special courses are offered by the camp, sequences of them could be inserted
at this point. Next would come scenes of baseball and general camp sports. It is not
necessary to start with the beginning of a game. In the case of baseball, for instance,
the first scene might be of the diamond showing the players in action, the next scenes
might be closeups of the pitcher, first base and batter. The sequence would end with
a general shot of an exciting moment in the game. The tennis court also affords a
good opportunity for a series of scenes. However, it is not wise to crowd the film with
too many camp sports; let extremely good motion picture studies of two or three sports
represent the facilities of the camp in the picture and leave the actual catalog of
sport opportunities to the printed matter. Next might come the title, Two boys share
each comfortable tent. The text would, of course, conform to the actual facts. Start
with a medium shot of one of the tents, come in for a shot through the open entrance
and then follow with an interior shot, ending with another exterior scene. In all the
shots include boys, resting or playing. At this point there might come a title about
the inculcation of neatness and order which would be succeeded by scenes showing,
the boys cleaning up their tents and inspection.
Next insert a title about constant medical supervision afforded by the camp which,
in turn, would be followed by a sequence showing the doctor bandaging a minor cut
for one of the campers. After this sequence, could come a title about the number of
counselors and scenes of them training or watching over the boys.
Then would come a title such as, A perfect cuisine with simple but satisfying fare.
The Camp slide and Begin the following sequence with an exterior view of the dining room. Show the mess
call being sounded, the boys answering, coming from all directions, cut to the in-
Springboard offer terior of the dining room and come to closeups of two or three happy faces of the
boys. This would be followed by views of the kitchen showing the careful handling
interesting angles of the food and the whole series would be ended by additional shots of the dining
Photograph by Irving Browning room, including full views of the boys at the tables. [Continued on Page 306]
Charles DuBois Hodges
A household group
with a baby star
completes the cast
Happy is that magazine whose readers will write its articles. In
response to an invitation in a recent Movie Makers editorial, ask-
ing for comments from League members about what they would like
from their organization, the author of the very human article that
follows offered some very helpful suggestions. Movie Makers
promptly asked him to accept the responsibility of talking to the
whole membership of the League and he was sporting enough to
take the challenge. He has, we think, presented an important view-
point logically and good humoredly and we hope that we shall hear
more from him. Movie Makers accepts Mr. Rockwell's challenge,
as well, and engages to offer the kind of help that he asks for the
many movie makers who have not the time to advance their tech-
nique and who must depend upon their mental inventiveness for
results that will satisfy their audiences. At the conclusion of Mr.
Rockwell-' 's discussion, Mr. Holslag answers the subsidiary question
that is asked.
MY COMPLIMENTS to Movie Makers on its interesting, entertaining,
instructive and awe inspiring edition of February, 1932. Every item
under Contents excited my curiosity and was interesting reading. The
amount of information in those articles is astounding. Not all, but some of them,
are a little awesome to me. I am an (a beginning) amateur, a "dub," an "error
maker," and may be classified as one of those who owns very little additional
equipment other than a plain camera and projector.
I have a position which requires my entire attention during every working
day and a large family occupies the rest of my waking hours. The little ones
sometimes even encroach on my sleeping time when a bad dream or an ache
makes itself known at midnight. Why is it that a dream or an ache always knows
when midnight arrives?
I'm no mind reader but I know you are thinking, "A family of children —
what an opportunity for a movie fan!" Well, I use that field. My schedule
doesn't permit time in which to work out the detailed use and construction of
such apparatus as is described in Simulated cinematics and my finances can't be
stretched enough to purchase "a complete set of lenses" mentioned casually in
Movie, ho, Mexico, a lens modifier called for in "Psyching" cine comedy, the soft
focus lens in An aid to closeups and the many special bulbs, reflectors, wide
angle lenses, title writing equipments, etc., needed to produce the professional
type movies so often described in your magazine.
However, I have some reels for which I used a stock f/1.9, my holidays,
mother and the children and the free, easily gotten together "props" found in
the attic and basement of any home. One is titled, The Magic Board. Six chil-
dren kneel in a row on the lawn about three feet apart. Mother appears carrying
the nursery blackboard (about three by two feet), the lower edge dragging
on the ground. As she passes each child, he disappears, apparently stuck to the
back of the board in some mysterious way. When she has the board in front of
the last child, she draws a big question mark with chalk, then walks on. In the
place of the last child appears the Airedale, contentedly chewing a bone. Sud-
denly all the children appear in their original positions; they appear to have
sprung out of the ground. Quite simple to your advanced cameramen who know
the trick of stopping the camera while the subject gets in or out of view, but
always good for "Ohs," "Ahs" and laughs when shown on the screen.
The point is this. Some of us have produced reels, interesting to ourselves
and friends, using basic ideas culled from Movie Makers, but we are crude
amateurs and need constant help on fundamentals which would bore the ad-
vanced fans who know, for instance, how to turn out a reel like the one I describe
without the jerky moves mine shows. I don't know how to have a subject hold a
position while a person or object is moved
_ , . , . , . in or out of range.
Simple tricks with
simple equipment
for every amateur
Mr. Rockwell's pleasant cine ideas are
certainly not at all hard to achieve and
this particular one depends upon what is
perhaps the most fundamental of all cine
illusions. This [Continued on Page 306]
THEODORE G. ROCKWELL
With what is at hand
292
29i
The clinic
RUSSELL C HOLSLAC
Light and depth
Technical comment
and timely topics
for the amateur
Motion picture and
still cameras are
generally capable of giving only a "one
eye" picture, that is, they do not give the
combined impression of two lenses which
is the way we perceive actual objects
through our eyes. Two eye vision is called
stereoscopic and it is by means of this effect
that we are aware of the depth and roundness of things. The screen picture,
taken through the single eye of the lens, will therefore be flat unless we take
thought to adopt some means to overcome this flatness. One of the most effective
methods to secure the appearance of depth in a screen picture is to arrange to
have the important objects outlined or illuminated by a bright light, while the
background is of a darker tone. The best way to get this effect outdoors is to
select a location or to place a subject so that the brilliant light illuminates it
from the side or rear. This gives the side and backlighting effects so beloved of
professional studios and. indeed, is one of the best means of creating the
illusion of depth on a flat screen. It is seldom difficult to maneuver the subject
into such an advantageous position with relation to the sunlight, while appro-
priate settings in which the light distribution gives a real effect of depth are a
delight to discover. A particularly happy one is shown in the illustration
where the sun. coming from the side and above, lights the stairway which stands
out from the darker toned background. The black silhouette of the tree helps,
too, to enhance the effect of depth. One caution there is in back or side light-
ing— be careful to shield the lens from direct sunlight.
Stunt of the month ■ Several articles run in Movie Makers recently have
emphasized the advantages to be gained in finished
screen results by the knowledge and use of effects, such as the fade in, the fade
out and the iris. Taking particular thought for the last, LeRoy F. Reinhart, ACL,
writes that he has achieved the iris effect by a very simple means. Mr. Reinhart
simply supports a cardboard mailing tube in front of the lens, the diameter and
length of the tube being such as to give him the effect he wants. The tube is
held over the lens like a lens shade and, incidentally, actually does function as
such. A good, usable size for this purpose would be about two inches in diameter.
The inside should be painted with a dead black, matte surface paint. The
spotlight effect given by the circled image is valuable for centering the attention
on an object. A tube two inches in diameter extending about two inches in front
of the lens barrel will produce a dark, circular border which will just "clip"
the edges of the frame. Mr. Reinhart finds. A tube four inches long will produce
a fairly large circle in the center of the picture and is effective for portrait shots.
A six or seven inch tube would just about take in the head of a subject about
ten or twelve feet from the camera. This last should be used only when there
is some very special reason for doing so because, with it, the exposure may be
slightly altered. The tube should be held perpendicularly to the camera front.
Apertures ■ ^ recent dispatch from the Academy of Motion Picture Arts
and Sciences of Hollywood draws attention to the establishment
of a professional theater projection aperture of certain fixed dimensions. To
the amateur who may not be familiar with this designation, although it is quite
self evident, it may be pointed out that this term means the "picture window"
or opening through which the light passes and which defines the area of the
projected picture on the screen. It is a further interesting fact that the projector
aperture is smaller than the camera aperture so that any possible irregularities
or lack of registration around the extreme edges of the picture will not find their
way to the screen. Now, in professional sound film projection, room for the
sound track or band must be left on the film at the side, between the picture
and one of the rows of perforations. In order to maintain approximately the
ideal frame proportions of three by four, and also to leave room for the sound
track, the 35mm. frame has been reduced in size and placed slightly off center
on the film. Its dimensions are now .600" high and .825" wide; its center line
.738" from one edge of the film. Those amateurs who are shooting 35mm. for
a possible later commercial use with sound should cut cardboard or thin metal
masks for their finders so that the picture field will conform to the decentered
aperture. In order to do this, the space for the [Continued on Page 307]
Shadow, light and
silhouette give the
recipe for depth
Filter fact;
GEORGE W. HESSE
MANY amateurs are missing some mighty fine photog-
raphy by an unreasoning and unreasonable fear of
filters. To some, those little bits of colored gelatine
and glass seem invested with mysterious properties. Often
amateurs using filters have some hazy idea of "putting clouds
in the picture," or "registering the shadows in the snow."
But these things form only a small part of the real benefits
of the intelligent use of a filter. It is, therefore, hoped that
this brief article will guide movie makers to a fuller apprecia-
tion of just what these pieces of colored glass can and will do
if given half a chance.
Filters are used to hold back certain colors, thus, either
giving a more perfect rendering in monotone of all the colors,
or, in special cases such as in trick work and in special effects,
giving prominence to one color or section of the spectrum
at the expense of the other colors or sections of the spectrum.
The greatest benefits are derived from filters when they are
used with panchromatic film. The normal panchromatic emul-
sion, while sensitive to all and even more colors than are
visible to the human eye, is, like orthochromatic film, abnor-
mally sensitive to the blue section of the spectrum. Therefore
in order to photograph all colors of the spectrum in their
relative values it is necessary to hold back the blue to a cer-
tain extent. For this purpose the "minus blue" filters are em-
ployed. They are made, generally, of yellow or amber colored
glass. Filters come in many different color densities. The
lighter ones have the least amount of yellow and therefore
pass the most amount of light. The denser ones correct the
most while the lighter ones have the least corrective power
of the group.
When using a filter, one interposes it between the lens and
the scene to be photographed. Naturally this reduces the
amount of light permitted to reach the film, so the exposure
must be increased. The diaphragm must be opened a bit so
as to compensate for the amount of light cut off by the filter.
The "factor" of the filter merely indicates the increased ex-
posure necessary in order to get a fully exposed film. Sup-
pose, for example, it is desired to photograph a landscape and
for a normal exposure the light is such that the diaphragm
would be stopped down to //ll. However, it is decided to
use a 3X filter in order to cut the haze and to secure a good
rendition of those fleecy white clouds that do so much to
make the picture. The filter has a factor of three, hence the
Filters will bring
out the different
colors in nature
A full
guide
but simple
to filters
for summer filmers
filtered scene must be
given three times the ex-
posure one would nor-
mally give the unfiltered
view. The diaphragm
would be opened to //6.3
in order to secure the
correct exposure. Or, if
using a filter whose factor is 4^2, under the same conditions,
the diaphragm would be set about midway between //4.5
and //5.6. Several manufacturers indicate the density of their
filters by the increase in exposure necessary with that par-
ticular filter when used with panchromatic film. Remember-
ing this fact will clear up any confusion that may arise when
selecting a filter.
The correct filter to employ depends on the nature and
distance of the scene and the amount of haze present. A
mildly corrective filter, holding back some of the blue light,
is used for all around work when no definite effect is de-
sired. It is a wise procedure to use a filter on all outdoor
scenes when the exposure will permit. The filter enables the
sensitive material to render colors more correctly and cuts
through any slight haze that may be present. True, you may
not see the haze, but it is there nevertheless and will cause
an annoying flatness in the scene.
This haze effect is especially pronounced on distant and
landscape scenes. They are the shots that require the heavier
filters. When the haze is fairly heavy, as it usually is over
water, the G filter will be found of value. This filter will also
be found ideal for telephoto shots, for such scenes are usually
characterized by an abnormal flatness due, primarily, to the
everpresent haze and, secondarily, to a slight overexposure.
The G filter will go far to correct these conditions. This filter
is extensively used in motion picture work and is very similar
in properties to the others. It is yelloAvish orange in color,
slightly more dense than the usual filter and will conse-
quently produce a more pronounced correction. Its factor is
about 5X when ordinary panchromatic film is used.
When filming at the beach or over water a heavy filter
is essential. Here you will always find more haze due to
the presence of water vapor. However, the added expo-
sure necessary with a dense filter is counterbalanced by
the fact that there is always [Continued on Page 308]
Saul Bower
294
295
Color achievement
with composition
requires care only
Publishers Photo Service
THE question of suitable subjects for Kodacolor seems
to puzzle a number of amateurs. It appears to the
writer that many believe the field covered when per-
sonal, flower and sunset opportunities are exhausted, and
that long distance views are difficult if not impossible to se-
cure with satisfactory and true rendering of all colors. Noth-
ing could be more erroneous. For under the proper light
conditions the scope of color is practically unlimited and
falls but little short of that covered by the monotone film.
The suggestions presented here are far from all embracing.
They are a mere framework around which the individual can
build in accordance with desire and personal inclination.
First on the list may be mentioned the family album or
personal films. Dear to all, they are an endless and invalu-
able record for the future. A new dress or costume, the in-
troduction of a beautiful cape or a fancy parasol, a different
background and activities in and about the house and gar-
den, on the field of sports, boating and bathing, are just a
few of many opportunities for good and effective color shots.
To the dweller in the country, as to the occasional passer-
by, rural life provides plenty of happy changes for striking
and pleasing picturization. The coming and going of visitors,
roadway scenes set off against an impressive sky, charming
villages and quaint houses, rustic activities and animal life,
rambles in the forest or along streams, picnic, hunting and
fishing incidents form an interesting story, receptive to addi-
tion from year to year.
Vacation time may spell travel in the mountains and there-
with come timely opportunities for a wealth of telling Koda-
color shots, which, under no circumstances, should be missed.
In arranging for appropriate and pleasing sequences, the
departure would make a good opening scene, to be followed
by others of the road and long distance shots of the approach,
supplemented by nearer views. Forest and lake impressions,
cabins and activities thereabout, sunrise, the trail marking
the beginning of a climb, the party on its way, the unfolding
expanse of deep valleys ridged into peaks near and far and
the switchback winding crazily below or sheets of water
reflecting marvelous blues and greens would make good fol-
lowing scenes. At higher levels, snow and ice covered sum-
mits flung against a blue, cloud flecked sky could be filmed.
On any of these, when handled with intelligence, Kodacolor
will seldom fail to give results that will bring delight.
A voyage abroad or coastwise sailing brings the occasion
for unusual and desirable marine pictures. A good con-
tinuity would include shots of the boat, farewell taking par-
ties, different views going out of the . harbor and people
aboard and their activities. A scene made across the water
with striking cloud or light effects serving as the main theme
and a foreground contributed by parts of the ship would be
another good inclusion. Europe and many other foreign
countries provide more than enough material of the most
fascinating sort for keeping the camera at top speed during
the entire sojourn.
Even the big cities of America overflow with subjects
worthy of color delineation. The dull, everyday street scene
is brightened with painted vehicles. On days of celebration,
when flags and bunting fly to the wind and military proces-
sions march down the streets, an air of gaiety and cplorful-
ness floats over all. What pictures for the opportunist!
There are also variegated buildings, flower marts and street
carts, magazine stands and, not to be overlooked, the won-
derful window displays of the principal stores.
And finally, attention may be directed to a sadly neglected
branch of cinematography, namely, experimentation with
light and composition. Considering the vast number of
amateurs making motion pictures, it is regrettable to note
how few have shown any enthusiasm in this direction. Koda-
color, for one thing, lends itself admirably to such work.
Perhaps the amateur has felt the need for elaborate equipment
or that the field was exclusive to the artist and technician,
natural but erroneous conceptions. From the viewpoint of
equipment, a camera, a roll of film, the usual set of filters and
proper light intensities will suffice for a good start. A tripod,
while not absolutely necessary, comes in handy for closeup
studies. As for the question of artistry, the door stands wide
open to anyone who cares to enter and enjoy this fascinating
and absorbing branch of photography, which, if approached
in seriousness and with
intelligence, can be
counted on to reward
the experimenter with
revelations in novel and
beautiful color combi-
nations. Nor is the pos-
[Continued on page 308]
Keen eyes added to
imagination unlock
the doors to color
JOHN V. HANSEN
Kodacolor, unlimited
296
William M. Rittase
Travel incidents
and commonplaces
yield unusual shots
CLARA L. BROCK
Advance planning
will bring results
for every amateur
Vacation cameras
WITH a feeling of release and
quivering anticipation the cine-
matographer turns his key in
the office desk or shuts the town house for
the summer; for the beginning of vacation
days marks the "New Year" of the amateur
movie maker and — bursting with all kinds
of New Year's resolutions — he has set his
face toward Maine. Canada and the West, and here are some of the things he
has resolved:
That he will have his camera with him every minute lest he miss some oppor-
tunity which will never come his way again. That he will clean his lenses every
day. He has resolved to avoid the use of lines, masses and movement parallel
to the picture plane because of uninteresting composition and dizzy movement,
both of which are all too common amateur faults.
Since he has made many straight records of previous trips, he has resolved
to give the continuity a new angle and to avoid the good, but much overworked,
preparation, start, daily diary and return sequence. He has resolved that he
will keep all friends and relatives (however famous or charming they may be)
out of his scenics, unless they are accomplished actors and can become an
integral part of the motif being filmed. He has promised himself that, if he
takes shots for their historical or sentimental appeal rather than for their cine-
matic expressiveness and design, he will cut them out the minute he returns
and will splice them into his "Harlequin" film. The resolution to establish a
sequence in the operation of the camera is firmly planted in his breast, as is a
grim determination to stick to it, for a forgotten lens cap, focus, speed or light
change often spells tragic loss.
It is well for the prospective traveler to steep himself in the geography, the
history, folk lore and romance of the places he is to visit, in order that a more
sympathetic understanding of the people will enable him to put the "felt nature"
of his subjects into his films — a quality which has distinguished the master-
pieces of the art of all ages from those of lesser merit. This will also enable
the movie traveler to plan his continuity in advance and will eliminate the time
eating, aimless search for something to shoot.
There is not the slightest doubt that the photographer who approaches the
filming of Quebec and the mountains to the north after reading Le Chien d'Or,
Shadows On The Rock and The Laurentians will do a far better job than the
blithe cine amateur who goes nonchalantly forth without this background.
So much for the prenatal part of the trip — now to the actual business of
exposing film. First of all the movie maker must know exactly what makes a
picture. He must learn to visualize each shot as a three dimensional pattern of
black and white within a defined space, remembering that movement is a vital
part of that design. The best way of achieving the ability to see in this manner
is to cut a small hole, the proportions of the film frame, in a heavy piece of
cardboard. Mark the centers of the inner edges. Carry this about constantly
and at every opportunity hold it before the eye, moving it about, noting the
balance of masses, the rhythm of line and the power of movement. By this
means, with no camera to bother about, one can concentrate on training the eye
to design within a given area; and the element of critical selection which this
method demands produces compositions which are individual, fresh and creative.
It is not always the novice who fails to realize that color is the only design
element a contemplated shot possesses and color alone, even with Kodacolor
equipment, will never make a picture.
Every year there is a book published which contains about ten of the best
short stories of the year, each one a little gem of literature. Why not make a
volume of three or four short films of the vacation footage — each one a little
cinematic gem — centered around different phases of the trip?
Take "means of locomotion" as an idea. The film could show the dynamic
movements of a locomotive, from all conceivable angles; then automobiles,
airplanes, canoes, rowboats, horses, mules and even Shank's mare will furnish
rich material for the movie camera lens.
From Prescription to Menus could be the subtitle for another reel (and, in this,
one can shoot one's friends to his heart's content ) the first shot of which would be
a closeup of a doctor's prescription ordering "one glass of milk and a lettuce
leaf three times daily." The next shot— dinner [Continued on Page 310]
There's lots of fun in splashes
ERNEST W. PACE AND WILLIAM A. PALMER
297
DOZENS of tiny white sails hugged the edge of a pond
in Central Park, waiting for a breeze to carry them
over to the group of small boys who stood with the
water up to their knees, "waiting for their ships to come in."
On the bank stood several proud fathers, their faces hidden
by movie cameras.
On the Bay of San Francisco, a small fishing craft was
headed for the ocean. Fishing baskets, rods and reels and
lunches were piled in the stern, and over the shoulder of the
stout man in gray knickers hung a cine camera on a long
strap. In his hand was an exposure meter.
A body dropped ten feet through the air and, with a re-
sounding crack, lit flat on the still waters of the old swimming
hole. Bubbles rose to the surface, followed by a red face.
"How was it?" "Sorry, old boy, but I forgot to wind the
blamed thing!"
It was summer, for the appearance of water sports marks
the season just as the first robins are signs of spring.
What fascinating films can be made with a camera, a few
people and a body of water! Swimming, water polo, diving,
surf bathing, aquaplaning, sailing, canoeing, beach sports —
surely one of these will be included in your summer's vaca-
tion. There is little chance of your actors being self conscious
or camera shy while trying to manage the distance between
the center of a pool and the edge. Who could be dignified, or
refrain from laughing, while his friends are attempting to
push him into the water? The finest pictures we have seen
of President Hoover were taken as he climbed out of a small
pool, dripping water.
There are three general principles of continuity to be fol-
lowed if summer films are to be made interesting. First, your
finished reel should be made up of complete incidents, short
stories, one might say, rather than a hodge podge of discon-
nected scenes. Secondly — and this is a time-worn cry — long
shots must be interspersed with closeups and the camera
angle varied frequently. Thirdly, humor is indispensable in
summer pictures and, if not spontaneous, should be planned
in advance.
To illustrate these points, three of us will take a short
motor boat trip on the Utah River from Heyar to Thayer. A
continuity following the sequence of events would suggest
itself in this instance. The continuity would begin with pack-
ing the lunches in the boat and end with the group rowing
A good sta rt that
gives promise of
a film full of fun
How to lighten up
water movies with
touches of humor
back after the motor has
stalled.
As for camera tech-
nique, there are a few
points about this trip
which merit attention. It
is far better to have the
camera move with the
boat than try to keep the shore line or the horizon level. In
fact, it would be ideal to have the camera on a tripod. To
attempt to hold the camera level while the boat rocks will
result in a wobbly and unreal scene. Again, it is wise to
include a portion of the boat with each long shot, perhaps
silhouetted against the background if the lighting permits.
As for humor, let us assume that Bill is the nitwit of our
trio. He could then easily supply the necessary comedy by
asking foolish questions about the motor, or suggesting that
a hole be bored in the bottom of the boat to let the water out.
Bill will undoubtedly want to fish for tuna from the stern,
and our audience will be sadly disappointed if we do not
have him reel in the well known shoe, preceded by such a title
as, We all got a big boot out of Bill's first catch !
Diving pictures, when well made, are among the most
beautiful studies of motion. It is worth owning a slow motion
camera just to be able to film such sports. At a speed of
sixty four frames, many make the mistake of beginning their
scenes just as the diver reaches the end of the spring board,
stopping their cameras after he has just disappeared beneath
the water. This does conserve film, but also ruins the com-
pleteness of the scene. The approach to the dive is just as
important as the dive itself and, as far as the end of the scene
is concerned, we always like to see the splash made, and even
the little splash which follows the first big one. We even like
to see the diver rise to the surface — and this, of course, may
be taken in normal speed — if only to make sure that he
really returns from the depths. Even diving pictures can be
taken from more than one angle by a repetition of the same
dive and careful film editing, and the effect is good.
One little insert, quite effective, shows the spectators while
they watch the dive. While they are being photographed,
someone behind the camera tosses a brick high in the air and
the audience is instructed to follow this with their eyes. As
soon as the brick reaches the [Continued on Page 311]
Ernest W. Page and William A. Palmer
Strike up the band! |
RUSSELL C. HOLSLAC
Cinematic design
and speedy action
offered by parades
Parades with pomp
and circumstance
lure summer turner
fill
//■ LOVE a parade!" So runs the popu-
lar song, expressing the fundamen-
tal reaction of almost everyone to the
blare of music, the blaze of color, the cos-
tumes, the ceremony. In fact, anything of
this nature that is out of the ordinary, that
takes us beyond the monotony of every-
day existence, enlists our interest. Parades
and pageants and all out of door displays of such a kind have had this visual
appeal, from the Roman circus down through the medieval processions and
miracle plays; all have furnished an outlet for the love of display and move-
ment on a large scale. And this year, with the celebration of the Washington
Bicentennial in America, there will be unusual opportunities for witnessing
these eye filling displays.
Eye filling only? To the amateur cinematographer, all such spectacles are
lens filling too, for what better movie subject could be chosen than the con-
certed movements of large masses, the military evolutions or the brilliantly
costumed participants in a pageant? Since July is the month which features
the aii important American holiday, the movie maker should consider this as
the inspiration to his parade and pageantry opportunities which, in most local-
ities, will occur at intervals throughout the Bicentennial year.
In viewing a parade, the average onlooker must needs be content with a more
or less precarious perch on the edge of the curb, but the movie maker, who is
later to present his interpretation of the spectacle on the screen, should cast
about for a greater variety in his viewing locations. The eye of the beholder can
roam at will over the details of the passing procession, but the movie camera at
the curbstone is at a definite disadvantage. With the one inch lens, figures of
people must be about twenty five feet away to appear at full length on the movie
frame, so that if most of the parade picture is shot from the curb, the result
is likely to be that most of the marchers will appear minus their feet, while
those nearest the camera will appear blurred and unsatisfactory in rendition.
A further disadvantage of the close camera viewpoint to a moving parade is the
fact that the nearest line of marchers is apt to move too rapidly across the field
of view, so that the amount of movement between one picture and the next will
be too great. This is apt to produce a jerky effect on the screen and is a point
that cannot be over emphasized in avoidance. Unfortunately, in most parades
and public gatherings, where the amateur is close to the subject, there is always
the danger of other participants or even casual passersby moving in front of
the lens close to the camera and. if the amateur has influential or persuasive
friends, he should, as far as possible, station them at strategic points to help
him keep the path clear to the subject. If this is impossible under the circum-
stance, the cine shooter must content himself with the more important shots
taken at favorable intervals and if any picture interruption should occur, it
may later be cut from the film.
Under what conditions of light should the pageant or parade be photo-
graphed? Unfortunately, here one cannot control the hour of the day on which
the event is to be held, so that it will be necessary to prepare oneself for emer-
gency conditions of lighting, incidentally a good training for newsreel work.
It should be borne in mind also that events of this nature seldom start on
schedule; this will help in deciding exposure beforehand. To take care of pos-
sible conditions, a turret front camera is advisable, carrying three lenses, the
normal, fast and telephoto objectives.
The best location for a general view of a parade is above the heads of the
crowd. The professional folks know this and always appear on the scene with
a truck on which is placed the sound camera with tripod legs well extended.
If the amateur is sufficiently well known at a home town function, perhaps he
may muster up enough courage to mount the roof of a sedan with his tripod
and camera for this purpose, but first the constructional details of the car had
better be investigated and arrangements made to place a piece of flat board
over its roof on which the cameraman can stand.
However, it is usually easier to secure this elevated viewpoint by other
means. Sometimes even a convenient packing box will do and, of course, there is
always the second or third story window. An excellent viewpoint from which
to record an oncoming parade would be from a dwelling located at the inter-
section of two streets which come together in the [Continued on Page 313]
298
299
Finished detail of
"The Black Door"
sets new standard
The winners ■ Final awards in the recent Interclub Con-
test sponsored by the Metropolitan Motion
Picture Club in New York City have been announced as fol-
lows: First award in the scenic division to Jasper Trails,
filmed by M. T. Hazen of the Hartford club, second award to
Streams, by Charles J. Carbonaro, ACL, of the New York
group, and third award to Relaxation, by H. C. Axton of the
Philadelphia club; first award in the miscellaneous division
to Water, filmed by B. H. Blood, ACL, of Hartford, second
award to From Cane To Sack, by Hermann Danz, ACL, of
the New York club, and third award to A Newsreel, by George
L. Kirstein, ACL, from the Larchmont club. First places
in the photoplay division and in the Kodacolor division were
won by The Jam Of Jim Jones, produced by George A. Ward
and Frank J. Boylan, and by A Summer's Day, filmed by Dr.
George L. Rohdenburg, all ACL, in the New York club.
The final screening was held in the 16mm. theatre of the
Little Picture House in New York City before a distinguished
board of judges comprised of Carlisle Ellis, of the Camera
Club of New York, Epes W. Sargent, of the theatrical weekly,
Variety, and a frequent Movie Makers contributor, Sophie
K. Smith, managing director of the Little Picture House, and
William H. Zerbe, of the photographic staff of the New York
Herald Tribune. Special leader awards to the four first place
winners were presented by the Amateur Cinema League.
Fine production ■ The Greenbrier Amateur Movie
Club, of White Sulphur Springs, W.
Va., has completed its second picture, The Black Door, run-
ning 1200 ft., 16mm. The story, laid in a Graustarkian princi-
pality of Europe, required costumes and sets in keeping with
its background of high military officials, exotic ladies and
gay life. This problem, however, was so carefully handled
that the picture bids fair to be the best amateur film of its
type. Hal Morey, ACL, was director and cameraman, while
in the cast were Lucille Dixon, Catherine Preston, J. M.
Gaston, R. H. Patterson, Herman Rieger, L. R. Johnston,
George O'Brien, William B. Hines, Captain V. Yavorsky,
William Perry and Robert B. Parker. The club's monthly
news sheet has been increased in size.
In Chicago ■ Recent meetings of the Chicago Cinema
Club have featured a demonstration of
16mm. sound on film projection, the screening of A Trip
Greenbrier Amateur lYiuvie i~iud
Through Death Valley, by N. E. Johnson, members' films and
Moon Movies, The Fall Of The House Of Usher and Isles Of
Sunshine from the League's Club Library. The club is making
a spring and summer drive for new members.
A new grOUD ■ 1° Grand Rapids, Mich., eighteen enthusi-
asts have organized under the name, Movie
Makers of Grand Rapids, and have elected Wendell L. Patton,
ACL, president and Charles Leonard treasurer and busi-
ness manager. The club, which will be devoted to photoplay
productions, has already started work on a 400 ft., 16mm.
comedy, scenarized by Mr. Patton. Fly Low Jack, from the
League's Club Library, was projected at the organization
meeting of this promising new group.
DisCUSS technique H Outstanding in the activities of the
Bridgeport Amateur Cinema Club
(Conn.) have been a discussion of "panoraming," a discus-
sion and demonstration of title making by Clemens Klofcorn,
the screening of films of the Winter Olympics made by George
W. Weising, and of several short film stories, made by the
club president, Mr. Goodsell. The club's leader has been
successfully completed by James Brown and Mr. Klofcorn
and was demonstrated at a recent meeting.
9.5 titles ■ ^^e Making On 9.5mm. Film was the subject
of a talk and demonstration at a late meeting
of the 9.5 mm. section of the Cinema Club of San Francisco,
Calif. An animated trailer title was the climax of the demon-
stration. The screening of members' films, featuring a South
African travel picture made by Carlos Bernasconi, concluded
an interesting program.
Holslag Speaks ■ At the Newark Camera Club, in New
Jersey, the Cine Section has presented to
this long established still
group a discussion and
demonstration by Rus-
sell C. Holslag, technical
consultant of the League,
of the possibilities and
uses of supersensitive
[Continued on Page 314]
Latest news of
group activities
and photoplays
JAMES W
MOORE
Amateur clubs
Once in a few centuries
300
J. V. D. BUCHER
The greatest actor
will perform for
amateur cameramen
Ferdinand Elleman, courtesy Mt. Wilson Observatory
Advice for filming
an event that will
not often be seen
A T APPROXIMATELY twenty min-
Aa utes past three on the afternoon
# \ of August 31. 1932, a rare event
will take place. A total eclipse of the sun
will be witnessed by people in parts of
Maine, New Hampshire, Vermont and
Canada. There will be several astronomical
expeditions to this region and astronomers
will carry out scientific programs for observing it. Amateur movie makers are
given an unusual opportunity to record this most impressive and magnificent of
natural phenomena. Solar eclipses are usually visible only in some remote
corner of the globe and an eclipse recurs at a given place only once in about
360 years. A record of the event will therefore be of definite value.
An eclipse is the obscuring of one object by the intervention of another. In
the case of a solar eclipse the moon comes between the sun and the earth and the
sun is eclipsed. Referring to the diagram (Fig. 1, Page 312) one can see that, as
the moon encroaches on the cone that envelops the sun and the earth, the sun
will become partly obscured and that, when it lies wholly within the inner cone
as shown, it will cast its shadow on the earth. To an observer in this narrow-
shadow path, the sun will be totally eclipsed and it will appear as a partial
eclipse within 2000 miles on each side of that path. It is about 100 miles wide
and, for observers near the center, totality lasts longer than for those near its
edge. In the observation of an eclipse four contacts are considered: first, when
the edge of the moon first touches the edge of the sun; second, when the eclipse
becomes total; third, at the cessation of the total phase; fourth, when the moon
finally leaves the sun's disc. (Fig. 2. Page 312 I.
While the eclipse is partial, small crescents may be seen under trees where
the interstices between the leaves, acting as pinhole cameras, project an image
of the sun on the ground. About ten minutes before totality, the surrounding
landscape takes on an unusual change of hue, being lighted only by a thin
crescent of the sun which gives an illumination of unusual quality. Two or three
minutes before totality, one can see the shadow bands, curious rippling, wavy
shadows, that may appear on white surfaces. These are shadows of irregu-
larities in the air and are blown along by the wind, so they may be quite different
in different localities. Soon, an observer on a high place may see the shadow
of the moon, a darkening of the distant landscape, which approaches with
startling rapidity. As the last thin bit of crescent disappears, Bailey's beads
may be seen. These are tiny beads of light coming through the valleys between
the mountains on the edge of the moon. Then the corona, chromosphere and
prominences become visible; the brighter planets and a few bright stars may be
seen. Darkness falls suddenly, animals are puzzled and birds go to roost while
the temperature drops and dew may form.
The total phase of the coming eclipse will last about one hundred seconds
and just before the sun reappears one may observe Bailey's beads again. Then
the outer corona disappears suddenly and, when the first bit of the sun emerges,
it appears as a dazzling point of light which by eye irradiation seems larger
than it really is, resembling a sparkling jewel. The effect of this with the
remaining yellowish ring of the inner corona is called the "Diamond ring." The
shadow bands reappear and the inner corona is drowned out by the returning
light. The landscape gradually regains its natural color and the crescents under
the trees grow larger until they are again complete circles.
This event can be photographed with the 16mm. camera and there is only
one way of making a good job of it. That is by means of group cooperation.
Groups or amateur clubs should plan a film and assign to each cameraman a
single function. Several cameras with various focal length lenses can be used,
each for a separate aspect of the eclipse. This may mean 100 feet of film for one
camera and only one or two scenes for another but all the scenes from all the
cameras should be combined into one film which is to be the property of the club
and from which additional copies can be made. It would be impossible for one
person to change lenses and focus rapidly enough to get sufficient footage of
each incident. A program for a group expedition, which may be modified
according to the apparatus available, is herein suggested.
Each expedition should make its own tests and calculation of exposures.
Information regarding the exact times of contacts and a detailed map of the
path may be found in a Supplement to the American [Continued on Page 312]
Bu
smess, civic
medical, school
and other uses
Civic ■ The prairie dog and his cousin,
the ground squirrel, are featured
in a two reel motion picture just released
by the United States Department of Agri-
culture under the title, Routing Rodent
Robbers. The film first shows the vast
amount of destruction to farm and ranch
property wrought by these animals and
then how government control crews are fighting them on public lands and in
cooperative farming. Available on 16 and 35 mm. stock, the film is loaned by
the Office of Motion Pictures, Department of Agriculture, Washington, D. C, to
responsible borrowers paying transportation charges. An International Study
Of American Roads is the title of a second recently released Department film,
showing the extent of the highway system of the United States, construction
methods and engineering activities. This subject, in six reels, is on 35mm.
sound on film only and is distributed on loan through the same office.
■ To show the safe way of mining, The Coal Loader, 400 ft., 16 mm., is being
made by R. D. Currie, ACL, for the Bureau of Mines of the United States
Department of Commerce. The picture will be concerned chiefly with the
general safety habits established by the government in all mining but will also
present a fairly detailed picture of coal mining. Mr. Currie has shot already
nearly 400 feet of the tunneling being carried on in connection with the Hetch
Hetchy water supply project from Yosemite Park to San Francisco.
■ Governor Henry S. Caulfield of Missouri will play the leading role in a 16 mm.
film being made by Townsend Godsey, ACL, director of publicity for the State
of Missouri Game and Fish Department. The film will portray from dawn to
dusk the busy and varied activities of the state executive and will be used to show
to the uninitiated the duties and responsibilites of the governor's office.
Camps ■ Located in the Valley of Pellion, where, according to the Greek
myths, Achilles was born and played as a child, the summer camp
of the Greek Y. M. C. A. (X. A. N.) will offer a background of unusual beauty
for the film now being made by Lewis W. Riess, ACL, national physical director
of Y. M. C. A.'s in Greece. Mr. Riess will show in story form how a destitute lad,
awkward, ill at ease and unsocial, is taken from his hovel of a home to the
physical training, good sportsmanship and sociability of the camp, to be
returned to his home a good son and to his community a good citizen.
■ To appeal for support and to make clear to the supporters the good work
being done, Harry H. Vanderberg, ACL, in Passaic, N. J., has made a well
planned film of life at Camp Ocawasin, the summer camp carried on under his
direction by the Passaic Boys' Club.
■ The founding and development of the Paulist Cadets of Westwood Hills,
Calif., will be shown in a 16 mm. film now being produced by Raymond F. Body,
ACL, in Los Angeles, which will be climaxed with the establishment of the
cadets' summer camp near that city.
■ Distinguished by charming sequences of informal riding and of training in
formal horsemanship, the three reel film of Camp Teela-Wooket in Vermont, as
made by Marjorie Inman, ACL, is an attractive record of the pleasant routine
in a girls' summer camp. The picture is used for camp publicity and at the
annual reunion held each year in December.
B A 400 foot photoplay and a 400 foot general film of Camp Wawayanda, New
Jersey Y. M. C. A. summer camp, have been made by John A. Ledlie, ACL, in
Newark, N. J. The film story presents, in comedy vein, a mystery of the rifled
pantry, the development of suspicion of the guilt of one boy and a denouement
resulting in fast friendships all around.
Douglas of R. I. Nesmith and Associate
Industrial filming
can be enlivened
by cinematic charm
Agriculture ■ ^ directory of 16 mm. motion picture films concerned with
agriculture in its many phases has just been issued by the
Library Division of the Bell & Howell Company. [Continued on Page 315]
301
Practical films
302
JULY 1932
This Eastman ]V
Cine-Kodak, Model M, with Kodak Anastigmat f.3.5 lens, fixed focus; including special
attachment for close-ups. Price, complete with carrying case. . . $75.
•
Kodascope, Model C, with one sprocket for easy threading, high-speed motor rewind,
projects 400 feet of "film at one showing, or 800 feet if equipped with extension arms; com-
plete with film splicing and oiling outfits and one 400-foot reel. Recently reduced to $50.
800-foot extension arms. . . #7.50.
MOVIE MAKERS
303
ovie Outfit offers
Dependability and
Rare Convenience
AT LOW COST. . .
CINE-KODAK M, $7 5 KODASCOPE C, $ 5 0
Compact, light-weight Cine-
Kodak M, with true anastig-
mat / 3. 5 lens . . . Improved,
easily portable Kodascope C,
with high-speed rewind.
THERE is a vast difference in lenses with
the same /. rating. The lens on Cine-
Kodak M is a true anastigmat/.3.5, giving
sharp definition from edge to edge of the
image. No focusing is required. And it's
no mere fair-weather lens, for it gives you
the same superb picture quality through-
out the range of diaphragm stops. Even
when light conditions call for the largest
stop, you're still certain of getting clear,
well defined movies.
Because of its convenient shape and per-
fect balance, it's easy to hold this camera
steady while you're shooting. The shape
also enables you to get in
a picture yourself by set-
ting the camera on a flat
surface, locking the ex-
posure lever, and walking
into the picture area.
Further features are easy loading and op-
eration, and an eye-level finder which gives
you full vision without strain or squinting.
A worthy companion to the Cine-Kodak
M is the Kodascope C. Easily portable...
simple to thread and operate. The "C" pro-
jects a picture that's notably clear and bril-
liant. It stops for "stills". .. rewinds at high
speed.
Cine-Kodak, Model M, and Kodascope
C can be seen and examined at your nearby
Cine-Kodak dealer's. See for yourself why
this Eastman outfit is the outstanding "buy"
in movie equipment today.
Eastman Kodak Company, 1°™%TA
302
JULY 1932
Tuk Faqtman IV
i
JULY 1932
MOVIE MAKERS
This Eastman Movie Outfit offers
Dependability and
C^KodakModelM, u>Hh Kodak Anastigmatf.^ ,„„, fixedf
attachment for close-ups. Price, complete with carrying case. . . $73.
•
Kodascope, Model C, with one sprocket for easy threading hhh ,h J
projects, oo feet offiln, at one showing, or 800 feet if eauipZ Zhttj '
plete with film splicing and oiling outfits and one joo-foot reel R, T""\ """!' ""*"
800-foot extension arms. ..$7.50. ■ K^'"b reduced to $3o.
Rare Convenience
AT LOW COST...
CINE-KODAK M, $ 7 5 KODASCOPE C, $ 5 0
Compact, light-weight Cine-
Kodak M, with true anastig-
mat f.^. 5 lens. . . Improved,
easily portable Kodascope C,
with high-speed rewind.
THERE is a vast difference in lenses with
the same f. rating. The lens on Cine-
Kodak M is a true anastigmat/.3.5, giving
sharp definition from edge to edge of the
image. No focusing is required. And it's
no mere fair-weather lens, for it gives you
the same superb picture quality through-
out the range of diaphragm stops. Even
when light conditions call for the largest
stop, you're still certain of getting clear,
well defined movies.
Because of its convenient shape and per-
fect balance, it's easy to hold this camera
steady while you're shooting. The shape
also enables you to get in
a picture yourself by set-
ting the camera on a flat
surface, locking the ex-
posure lever, and walking
into the picture area.
Further features are easy loading and op-
eration, and an eye-level finder which gives
you full vision without strain or squinting.
A worthy companion to the Cine-Kodak
M is the Kodascope C. Easily portable...
simple to thread and operate. The "C" pro-
jects a picture that's notably clear and bril-
liant. It stops for "stills". . . rewinds at high
speed.
Cine-Kodak, Model M, and Kodascope
C can be seen and examined at your nearby
Cine-Kodak dealer's. See for yourself why
this Eastman outfit is the outstanding "buy"
in movie equipment today.
Eastman Kodak Company, ;?
CHESTER,
W YORK
304
The Camera is the
center of interest
on all vacations
Morgana Color ■ A new 16mm. color process with many
interesting features is announced by the
Bell & Howell Company of Chicago. The salient features of
this process are such that regular panchromatic reversal film
may be used in conjunction with any present taking lens,
including the normal and telephoto. The color effect is pro-
duced on the screen by a new adaptation of the additive
process, whereby alternate frames are photographed through
complementary color filters and projected in the same manner.
In order to bring this about, the new process, which is known
as Morgana, requires a different type of mechanism in both
camera and projector, and is said to embody an entirely new
principle never before used in motion picture technique.
While a two color process cannot be as accurate in color
reproduction as a three color one, it is claimed that the dis-
advantages of the Morgana process are less than those of
any other two color additive system. A slight fringing effect
may be noted in fast motion closeups, but this is not consid-
ered objectionable in view of the undoubted advantages the
process offers. Included in these are the possibilities for large
screen images, duplicate prints and color pictures under
adverse light conditions.
Meyer for LeJCa * The many movie makers who own
Leica cameras, and who find this pre-
cision instrument so valuable for location testing and for
stills of all kinds, will be happy to know that certain of the
famous Hugo Meyer cine lenses have been made available
for use with this camera. These include the Kino Plasmat
three inch //1.5 for speed work, the three inch and four inch
Trioplan //2.9 for all around shooting and the Tele Megor
//4 for telephoto work. The last may be had in focal lengths
of six and nine inches. These lenses, designed for professional
cinematographic work, have fine definition and covering
power; they are especially suitable for the small camera
where the image is to be
enlarged many times. A
point of additional inter-
est for movie makers is
the fact that any of these
lenses may be had in a
combination mount that
is interchangeable and
Answers the query,
"What's new?'' for
amateur and dealer
may be used either in the movie camera or in the Leica. The
firm also announces the issuance of a new catalog covering the
improved Hugo Meyer "Kinon Superior" large aperture pro-
jection lenses. Information covering any product of this firm
may be had from Hugo Meyer & Company, 245 West 55th
Street, New York City.
Mickey at home
Is there a movie enthusiast who has
not yet enjoyed the antics of Mickey
Mouse on the professional screen? If there is, he is one who
doesn't visit the movie theatre, for Mickey has endeared him-
self there to all who have seen him. It is good news, therefore,
that the Hollywood Film Enterprises, Inc., of 6060 Sunset
Boulevard, Hollywood, Calif., have contracted with Walt
Disney, the creator of Mickey Mouse and Silly Symphony
screen cartoons, to release these subjects on 16mm. They
will be available for home showing as 100, 50 and 25 foot
subjects and have been carefully edited so that each unit is
complete in itself. It is said that the demand for these sub-
jects has already grown to large proportions, a situation
easily understandable because of their entertainment value.
Authentic air thrills on 16mm. are also offered to the home
projectionist by Cine Art Libraries through a special ar-
rangement with Elmer G. Dyer, the flying cameraman, who
has brought to the professional screen the outstanding shots
in such films as Hell's Angels, Daivn Patrol and Dirigible.
Holmes in SOUnd ■ Following the possibilities that are
now opening up in the field of sound
films in the home, the Burton Holmes Lectures, Inc., announce
themselves as RCA Victor Photophone licensees and state
that they are installing a complete 16 and 35mm. recording
equipment for sound on film. Of special interest is the fact
that a series of releases for homes and educational 16mm. sub-
jects is being prepared. The firm prophesies a widespread
use of 16mm. sound on film by the RCA Victor system and all
recording is to be done through this medium.
Trinkelite ■ The increasing use of Photoflood bulbs for
effective interior lighting shots with home
movies has brought about an increase in economical lighting
units. The latest step in this direction is found in the
Trinkelite, made by W. S. Trinkle, [Continued on page 317]
News of the industry
MOVIE MAKERS
305
• -c4£
jmV THE NEW
STEWART-WARNER
(De/uxeJj&M
E QUIPPED CAMERA
De Luxe Hollywood Model. Compact. Furnished complete with ^
leather-bound, waterproof carrying case of sporty new design, $50. ^>
Semi-professional model, (illustrated) with complete De Luxe Lens
Equipment, Magni View Finder, and F1.5 or Telephoto Lens, only
(De Luxe Utility carrying case extra)
92
50
HERE is the camera that makes
you master of every situation.
Has detachable lens mount with the
new Magni view finder which gives
you the true scope of your subject
magnified six times when using the
Stewart -Warner Fast F1.5 and Tele-
photo Lens equipment.
It is the camera that the semi-pro-
fessional has dreamed about, yet is so
simple that the beginner can secure
interior, distance and extraordinary
shots with utmost confidence.
Nothing on the market compares
with it at the price in any particular
— and it has a combination of astound-
ing features found in no other 16-mm.
camera. It has 4 speeds, including
OVER 30 MILLION SATISFIED OWNERS OF STEWART-WARNER PRODUCTS
NEW STEWART.
WARNER PROJECTOR
A fit companion for
ihe Camera Amazing
value at the price.
Only Projector Model
with the new, power-
ful 500 Watt illumi-
nating lamp.
NEW STEWART-
WARNER SCREEN
The latest fold-up,
standing type — per-
manently attached
to case which acts
as a base. Alumin-
um or beaded glass
screen surface.
s-l-o-w motion and talking picture
speed. Stewart- Warner's 2 5 years'
experience building long-wearing,
gear-driven devices and instruments
of watch-like accuracy insures trouble-
free operation and performance.
See this newest full lens-equipped sensa-
tional movie camera. Ask for a demonstra-
tion of the new 500-Watt Projector which
shows movies on the new Stewart Warrer
Screen — with theatre-like brilliance.
Illustrated folder on request
Movie Equipment Division, Stewart-Warner Corp.
1826 Diversey Parkway, Chicago
Please send me illustrated folder telling me about
the New De Luxe lens-equipoed Stewart -Warner
Camera, and the fascinating pictures I can take.
Name.
Address --
LJ Dealers check here for our Complete Resale plan.
306
JULY 1932
lAKE YOUR fAUDIENCE
INTO THE AIR
With a Wollensak Cine Tele-
photo lens you bring planes,
birds and other distant objects
so close that you actually feel
the thrill of excitement which
grasps your audience. Objects,
otherwise practically indistin-
guishable, give your films new
variety and startling interest.
Timid wild animals, victors in
athletic sports, etc., become
closeups for you. Finest possible
opt'cal corrections assure sharp,
brilliant definition to the very
edge. Speedy enough for almost
any light— f/3.3 — //4. Extreme-
ly compact. Write for literature
and 10 day trial offer.
y SUf ~ PS^^^^S^^i
Wollensak 6"
focus, //4. On
16 mm., it
magnifies 6
times.
WOLLENSAK OPTICAL CO.
983 Hudson Ave.,
Rochester, N. Y.
One package of 12 self-
threading new 400 ft. reels
and humidors like above.
Regular price, $18.00. Our
price for month of July,
only $9.00. Think of it!
75c for new self-thread-
ing 400 ft. reel and humi-
dor if purchased in lots of
12. Standard package.
A. C. Hayden Company
Brockton, Mass., U. S. A.
A camera in camp
[Continued from Page 291]
It is important to include the rest
period in the film. Sometimes camp
films worry parents of prospective
campers by picturing continuous activ-
ity. Hence, at this point, it would be a
good plan to introduce a title about the
frequency of the rest period and follow
it with a sequence showing the boys
reading, lying in the sun, napping or
talking together.
Almost every camp has some special
stunt or fete day and it would be pos-
sible here to include a few well chosen
scenes of the action. After that, would
come a title such as, We take the boys
from this . . . followed by two scenes
showing the boys arriving at camp
stooped and careless. Be careful not to
overdo this so that it will look staged.
Then next insert the subtitle . . . to
this and follow with shots of the same
boys showing them erect and soldierly.
Finally insert two or three scenes of
typical camp activities and then the
title, Isn't that better than this . . .
after which would come shots of boys
playing on vacant lots, in the streets or
loitering on corners.
Keep both scenes and titles fairly
short. People the scenes with happy,
healthy boys and hold the whole film
under 500 ft. but do not make it less
than half that length. The changes
necessary to fit a girls' camp will sug-
gest themselves, for the outlines would
be much the same.
This type of treatment will supply
the camp with an effective advertising
film. In addition, plot films could be
undertaken to amuse the youngsters and
to produce additional films for screen-
ing for parents. It will be found much
better to make a number of short camp
photoplays rather than one ambitious
one. Pick ideas that can be played
within two days, if possible. Almost any
story can be made, but follow this main
rule: Always have a plot! Here are
some suggestions:
There is always a "greeny" in camp.
The boys put up a snipe hunt for him.
The greenhorn is enticed to take his
station in the woods with a bag and a
lantern. He is provided with a club.
The others leave to drive in the birds,
which will be attracted by the light and
come up obligingly to permit them-
selves to he rapped over the head with
the club. The other boys go back to
camp and to bed. The victim waits, get-
ting more nervous as time passes. A
tough turns up. The boy knocks him
out. Sets up an alarm. The man is
bound. He turns out to be a wanted
criminal and the snipe hunter gets the
cash reward, much to the discomfort of
his tormentors.
Another popular outline is that of
the two boys between whom a feud has
arisen. They avoid each other, but
when one gets badly hurt or in a tight
place, it is the other who comes to his
relief, brings him to safety, with a re-
sultant friendship.
A Hollywood favorite is the timid
boy who does not shine in camp ac-
tivities, but who does a grandstand fin-
ish in an emergency when he catches
the difficult fly, bats out the winning run,
licks the country bully or proves his
mettle in any one of a score of ways.
Out west where the trade rat is
known, if not loved, this can be worked
into a story of a rat that steals money
or some boyish treasure and leaves, in
its place, the button off some other
boy's coat. The latter, of course, is sus-
pected until the denouement, when the
rat is discovered to be the real offender.
Similar easy plots will suggest them-
selves, but care should be exercised
that none of the boys is made to appear
in a distinctly unfavorable light. All
plots should be laid out, scene by scene,
in advance. Care must be taken to vary
the shots, interspersing a number of
closeups between the distant and me-
dium shots, to gain variety.
For example, the subject may be a
distance swimming race. This would be
tiresome in the extreme if followed from
start to finish. Vary. Try this outline:
1. The boys ready to start. 2. The audi-
ence on the shore. 3. Starting signal.
The boys take to the water. 4. Great ex-
citement on the bank. 5. The race, in a
near view. 6. The bank. 7. The race. A
closeup of one boy's face as he fights
along. 8. Back to the bank. 9. Back to
the water. 10. The bank, the racers are
nearing the finish. Excitement is great-
ly increased. 11. A shot of the boys com-
ing in. 12. Swing to the finish line.
13. On the bank. Three cheers.
All of which will probably take one
tenth of the time required to follow the
racers over the course.
Use the same general plan on all.
Give variety, odd camera angles and a
variety of shots, but never forget to
follow the plot for, after all, that's what
you are supposed to be doing.
With what is at hand
[Continued from Page 292]
is that, although in the actual taking, a
definitely long interval of time may have
elapsed between two successive scenes,
in the projector the two scenes succeed
each other in the twinkling of an eye.
So that if two scenes are taken from an
absolutely fixed camera viewpoint and
an object is to be made to "disappear"
from the midst of things, it is only
necessary to stop the camera, remove
the object, and start it again. On the
screen the second scene simply seems a
part of the first, but minus the object.
MOVIE MAKERS
(See The cut as a trick effect in the
Clinic for November, 1930.) Now, if
there are inanimate objects in the scene
that will "stay put" and if the camera
is held securely on a tripod, there is no
trouble at all in stopping and starting
because, as far as the background is
concerned, things were just as they were
before, and no change will be noted ex-
cept that the subject has vanished. But,
where the subject is to vanish from out
of the midst of a group of people, that
is a different matter. If the position of
any of the other subjects has changed
during the vanishing, the fact will at
once be noticeable on the screen. To
prevent this, the scene should be re-
hearsed a couple of times and, at the
point where one of the group is to van-
ish, the actors must "freeze" in position
while the camera is stopped, the vanish-
ing subject removed and the camera
started again. On resumption of the
scene, the remaining subjects immedi-
ately come out of their "freeze" and
resume whatever motions they were go-
ing through. It is plain at this point
that it would be pretty difficult to
"freeze" in the midst of any hasty ac-
tion, so that the surrounding group had
better be as still as possible at the time
the vanishing is to occur. On this
count, therefore, it might be better to
eliminate the dog in Mr. Rockwell's
plan, as it would be rather difficult to
get the canine to understand the tech-
nique of "freezing" unless, perhaps, the
dog were a pointer. However, the whole
business depends upon the resumption
of action after the freeze just as if inter-
ruption had never occurred and, with
this as an understood basis, the plan-
ning and arranging should be easy. —
Russell C. Holslag.
The clinic
[Continued from Page 293]
sound track should be allowed at the
left hand side of the finder. Incidental-
ly, this decrease in the aperture size will
mean a greater magnification for the
image on the theater screen. It is inter-
esting to compare this smaller size in
the professional aperture with that of
the present 16mm. projector aperture,
specified by the S.M.P.E. Standards
Committee as .380" wide and .284" high.
Eclipse data ■ Those interested in
recording that im-
pressive natural phenomenon, the solar
eclipse which is to take place on August
31, will find relative cine matters dis-
cussed very fully by J. V. D. Bucher,
ACL, elsewhere in these pages. Mr.
Bucher has since written, giving some
additional data which will be valuable
to cine photographers who are techni-
cally inclined. If it is possible to pro-
cure a lens of six or eight inches focal
length for the event, it would be best
307
Kino-PLflsmm
for Color
Licensed for Kodacolor by Eastman
Kodak Co.. under U. S. Patents Nos.
1,685,600 and 1,688,370.
The Kino-Plasmat has achieved an ultimate present
day perfection in its correction for the primary col-
ors of the spectrum and is the ideal lens for the
perpetuation of beauty in color.
Complete, 1" only, with Kodacolor filters, $75
Other focal lengths for Black-and-white:
15mm. to 3'/2 inches.
ADAPTED FOR VICTOR, FILMO AND ANSCO CAMERAS
Catalog on Request.
Hugo AityEc and Co.
245 West 55th Street
New York
Works: Goerlitz, Germany
2 AMAZING VALUES
offered exclusively by
HERBERT & HUESGEN CO.
NEW YORK CITY
308
JULY 1932
Bass Recommends
This Bell & Howell
Model JL Projector
"Not a belt in a carload" . . . that's the
Bell & Howell Projector Model JL.
Super illumination . . . speed rewind
. . . Symmetry of design . . . and, of
course perfection of mechanism.
Price, complete with case, $298.00.
Let's Swap I
Bass allows more for old projectors
. . . any make. Send description for
prompt appraisal.
Keady* Bass Bargaingram No.
209-H and Bell & Howell 64 page
Silver A nniversary Catalog. Get your
copies.
B AiiSiiS
CAMERA COMPANY
179 W. Madison Street, Chicago
Camera headquarters for tourists
Outdoor Night Movies
Now Made Easy
Exquisite night effects at garden
fetes — beach parties and camp-
fires — unbelievably beautiful
and realistic — are achieved with
"Newmanlite" Flares — the fa-
vorite illuminant of explorers
and naturalists the world over.
If you desire 100% effectivity,
ask for
" Newmanlite7'
Flares
Booklet and prices on request.
I.C. NEWMAN CO., INC.
545 Fifth Ave. New York City
used in a camera mounted on a tripod
so placed that it can be "panned"
around an axis which is parallel to the
axis of the earth. In astronomical
terms this means, essentially, the use
of an equatorial mount, setting the cam-
era in declination and panning in right
ascension. It would be a good idea to
use the tripod of a small telescope, es-
pecially one with a clock drive. How-
ever, an ordinary tripod can be set at
an angle equal to the latitude of the
place by bringing one of the legs be-
tween the other two and shortening it
the right amount. All long focus cam-
eras, in order to follow the sun smooth-
ly, should be equipped with telescopic
sights and should have a long bar at-
tached which will provide delicate guid-
ing. If a wider angle lens is used which
will include the whole path of the sun
and if a bit of the horizon is included,
the entire progress of the eclipse will
be shown. Such a camera should take
one frame every five seconds from the
first contact until just before totality,
when it should be operated at one frame
the second until totality is over. It
should be run at this speed by gear or
hand crank, as successive pushes of the
starting button may not give an even
exposure. The sun is very bright
until totality, so with a movie camera
giving exposures of 1/32 sec, a twelve
times (red) filter should be used at
//16 or //32. This can be removed just
before totality when it is desired to get
all the light possible.
Filter facts
[Continued from Page 294]
more light with which to photograph.
The G filter is the one best suited for
aerial work. Here, the utmost clearness
and detail rather than a pictorial ren-
dering is desired; therefore, it is neces-
sary to remove as much of the haze as
possible. It might not be amiss to sug-
gest that, when shooting from a plane,
you secure the filter and holder to the
lens with a bit of tape in order to pre-
vent vibration from shaking them loose.
The filter commonly employed for spe-
cial work is the A filter (No. 25). It is
red in color, having a factor of about
10 and is used mostly on outdoor shots
to produce night effects in the daytime.
That is, the scene is actually photo-
graphed during the day but the filtering-
is of such a nature that the result, when
viewed on the screen, gives the impres-
sion of having been taken at night. It
can be seen from the relatively high fac-
tor of 10 that, even when the lens is
wide open and the normal shutter speed
of 16 frames a second is being used,
a great deal of light will be cut off. It
is not only the underexposure of the
scene that gives it the night effect but
also the filtering action, for this red
filter absorbs almost all the light except
the red and therefore only red objects
will photograph to any great extent
while blue objects, such as the sky, will
photograph quite black.
A filter that the amateur rarely hears
of, but which is quite useful, is the neu-
tral density filter. This filter does just
what its name implies. It has absolutely
no power to correct and it does not filter
the light admitted to the film. What it
does do is to reduce the amount of light
admitted. One can shoot with his lens
wide open and still get the correct ex-
posure by using the proper neutral den-
sity filter.
Perhaps it is desirable to take advan-
tage of the relatively shallow depth of
focus when filming a closeup with the
lens at a large stop. The lens is so ad-
justed that background objects are
slightly out of focus. In this case there
would be an unobtrusive background, so
there would be no competition between
the object of interest and the back-
ground. If the lens is stopped down to
compensate for the lighting, the deli-
cate focusing may be disturbed. The
only recourse in a case like this is either
to reduce the shutter opening — impos-
sible in the majority of 16mm. cameras
— or to use a neutral density filter.
Kodacolor, unlimited
[Continued from Page 295]
session of a natural or developed color
sense an absolute essential, although
the acquisition of ordinary light con-
sciousness will be found a valuable
aid. To this end, neither profound study
nor extensive reading is required. Just
a few simple observations from day to
day of the behavior of sunlight and its
effect on colored objects at various hours
of the day are needed until the habit
of such observation is formed. To be-
gin, on a bright morning when the sky
shows a pronounced blueness, observe
it at all points and note carefully ihe
varying intensity and the number of
shades of blue. Continue by circling
a bright hued flower bed and note the
change in tint and intensities, depend-
ing on the position with respect to the
source of light. Through this proce-
dure in a short time will be acquired
a new sense of light appreciation which
will be found most helpful later on in
selecting special subjects and choosing
the right camera position for bringing
out desired details and combinations in
color values, rarely seen by the average
person. Do not permit ambition to in-
terfere with a logical development. Se-
lect for the first few experiments some
simple still life. Flowers, satin, bro-
cade or other colored material will
serve the purpose. Arrange to suit the
fancy and expose in different lights and
ijght directions. If a touch of animation
seems desirable, introduce a house pet.
MOVIE MAKERS
309
Simplified Loading
Simplex Pockette Camera can be loaded in
bright sunlight without danger of light fog and
the entire operation of getting ready to take
pictures requires but a few seconds. Simply press
a little button on top of Simplex Pockette Camera
which releases the compartment door, then slip
Magazine into place, close door and begin taking
pictures. Simplex Pockette is ready for taking
pictures the instant the Magazine is inserted and
door closed — absolutely no threading is neces-
sary. No shot is lost because of time wasted in
loading. The unique method of loading Simplex
Pockette Camera minimizes waste of time and
film and greatly reduces expense and disappoint-
ment due to the difficulties of threading.
Simplex Pockette Magazines, loaded with 50
feet of 16 mm. Eastman Safety Film — either
Panchromatic or Supersensitive — are an essential
part of the non-threading system of loading de-
signed by us for Simplex Pockette Camera.
Simplex Pockette Magazines are supplied by the
Eastman Kodak Company and are available
through your nearest dealer. The first cost is
the only cost. The carton which contains the
Magazine gives complete directions for forward-
ing to the Eastman Kodak Company who will
return the film, processed and ready for pro-
jection, without additional charge.
A High Qrade Camera
At a Moderate Price
Qives Dependable Results
In the design and construction of Simplex
Pockette full consideration has been given to
the realization that 16 mm. motion picture
cameras are used by many who have neither the
time nor inclination to understand the work-
ings of complicated mechanisms. Simplex
Pockette has, therefore, been made so simple,
so positive in its action anyone can operate it.
Taking motion pictures will be found no more
complicated than making snap-shots. You can
have all the thrill of taking your own movies
and be freed of annoyances and disappoint-
ments due to the difficulties of mastering a
series of elaborate operations.
Simplex Pockette is made by the world's old-
est and largest manufacturers of motion pic-
ture equipment, makers of precision machinery
for over a quarter of a century. This Camera
has been designed and constructed so that all
basic essentials have been retained which are
the accepted practice of leading manufacturers
of motion picture cameras. Important improve-
ments, however, have been made which give
maximum convenience and simplicity with in-
creased efficiency and durability.
NEW MODEL C SIMPLEX POCKETTE CAMERA is the thinnest, smallest camera of its type, weigh-
ing only 37 ounces. It has no protruding parts with the exception of its new and highly efficient F.3.5
Kodak Anastigmat lens. Is equipped with a variable speed indicator, single picture control, exclusive
double spring motor, automatic stop device and unique pilot pin to insure "rock-steady" pictures, similar
to professional cameras.
NEW
MODEL C $50
Plus Government Excise Tax. part of which has been
absorbed by the manufacturer
INTERNATIONAL PROJECTOR CORPORATION
90 GOT D STREET
NEW YORK CITY
310
JULY 1932
N
ew
N
ew
N
ew
SKINNER
Exposure Meter
without batteries
This meter does not re-
quire batteries — a unique
distinction — and it covers
the entire range from
f/1.4 to f/64.
Scales available for motion pic-
ture and still work.
IT TAKES THE GUESS OUT OF
PHOTOGRAPHY
Sole Distributors
SPINDLER & SAUPPE, INC.
SAN FRANCISCO LOS ANGELES
86 Third Street 811 W. Seventh Street
Write for literature
SIMPLEX FADING GLASS
Make your own fade-in and fade-out. Instruc-
tions and carrying case. Price complete $2.00.
DIRECT REDUCTION
PRINTS
from 35mm. negatives; Miami, The Magic City.
Lookout Mountain, Tenn. Through tne luOO
Islands. 100 ft., 16 mm., each $4.50.
PIXY PICTURES
Complete subjects in 16 mm. film. Length 25
ft. Suitable for cut-ins to your own movies or
for children. Variety of subjects from which
to choose. Price 75c each or three for $2.00.
Produced by
ERNEST M. REYNOLDS
165 E. 191st St. Cleveland, Ohio
J>
ramati$e
Your Home Movies !
Now you can buy scenarios
with every detail worked out
by Hollywood professional
writers, directors and cam-
eramen and including com-
plete set of art titles. Mar-
velous list of stories in two
sizes: 400 ft. features and 100
ft. featurettes.
Write for Complete List and
Make Perfect Photoplays
HOME MOVIE SCENARIOS, INC.
1220 Guaranty Bldg., Hollywood, Calif.
Continue with studies of portraiture,
skies and vistas. With the attainment
of greater skill and experience in color
valuations, arrangements in chromatics
and complementary effects may be un-
dertaken with assurance of astonishing
results on the screen. Do not hesitate
to experiment with light coming from
any direction, of course taking care to
shield the lens from the direct rays of
the sun at all times. For example, ob-
jects possessing translucent properties
can be photographed against the light
with especially charming results. With
the camera in an elevated position, the
light streaming from one side, branches
of flower bearing trees against a deep
blue sky, touched with a white cloud,
yield marvelous color definitions. Re-
flectors will also help to brighten up
the dark sides of subjects.
Composition is the result of the skill
and artistry expended in arranging a
picture or selecting a point of vantage.
It should reveal to others the lure of
strange places or a new attraction in
familiar things. It implies possession
of a measure of inventive imagination
and excludes the establishment of hard
and fast rules for its attainment. Per-
tinent suggestions, however, will aid
materially in solving many of the prob-
lems on the path towards better pic-
tures. Composition in Kodacolor brings
into play four factors, space, line, color
and movement; any one of these, if not
given due attention, will tend to upset
an otherwise well balanced scene. With
this in mind, shots including large void
spaces should be shunned. For exam-
ple, wide areas of barren sky, lifeless
landscapes terminating in a straight
horizontal line and seascapes with
nothing to relieve the monotony should
be avoided. Unless the clouds are par-
ticularly impressive, the sky should or-
dinarily occupy no more than one third
of the frame. It must be remembered
that motion pictures without something
stirring now and then may impress an
audience as being new fangled lantern
slides. Movement, free, easy and nat-
ural, but not violent agitation, improves
any scene materially. When the wind
has gone to rest, one can sometimes re-
sort to manipulation. Lacking any
other aid, a string attached — out of
camera range — to a branch, bush or
high stalked flowers and jerked just
before the exposure will furnish desired
action. Closeups of flowers are made
much more interesting by inclusion, at
times, of a visiting butterfly or bee. But
the human element will probably fur-
nish the major part of such effects and
it is quite natural to introduce family
members and companions. Done too of-
ten, however, it partakes of the monoto-
nous and distracts attention from the
real picture interest. Moreover, style
has a fatal habit of changing from sea-
son to season. On the other hand, im-
personal characters and groups, evi-
dencing local peculiarities and modes of
life, never fail to impress even the most
uninterested.
Good composition tells a story or pre-
sents a novel impression clearly and
well through a central motif surround-
ed by contributing incidentals. Sim-
plicity is the key note.
Vacation cameras
[Continued from page 296]
at home, on the eve of departure, the
family lustily enjoying a delicious meal
while the traveler sips his milk and
drearily chews his lettuce. This idea
could be worked up into an interesting
and humorous story of how the patient
gradually breaks away from the doc-
tor's orders. The film could include
meals in trains, on decks, at railroad
stations and sometimes from a paper
bag. There could be teas at inns, on
porches, in farm house kitchens, to say
nothing of clambakes, picnics and meals
in camp — perhaps a lumber camp; and
meals thrust at one when the sea is
rough, or a lost knapsack and a handful
of berries at the end of a strenuous
mountain climb — all worked into a
sprightly continuity; and don't forget
the closeups, for closeups of food are
sure to bring forth the "urns" and "ahs"
and "ohs" which are a definite indica-
tion that the film has made a hit.
We might add to the index page of
the summer travel book the following
chapters: Laborers, storms, birds,
sports, children, animals, portraits,
rivers, geysers, springs and pools.
Let no movie traveler head for Yel-
lowstone Park without reading the first
chapter of Your National Parks by Enos
A. Mills, which teems with ideas for
shots and titles. Here are some of them :
"There are geysers — transient, towering
— with white columns draped in steam."
"The transparency of the water sur-
passes that in any other portion of the
world." The variety of forms baffles
any attempt to portray them with pen
or brush, and for kodacolor "Morning
Glory Spring is like a gigantic morning
glory set in the earth" or "The Firehole
has flamelike colors which create the
illusion that the interior of the earth is
on exhibition" and so on, ad infinitum.
It may be inconvenient to plan a
whole travel film in advance, but it is
always possible while filming to select
subjects with one or more definite con-
tinuities in mind. Then, these continui-
ties can be later worked out on the edit-
ing table. By selecting his scenes wisely,
one movie maker came back last summer
with material for a fine reel of animals,
including the wild creatures he caught
in the forests and the horses and dogs
that went with him on the trip. In addi-
tion, he had a beautiful scenic compiled
from the material he shot in the North-
MOVIE MAKERS
311
west and Canada. The third reel was
made up of the highlights of the vaca-
tion railway trip and the events of a
typical day at a dude ranch. The scenes
were taken with these three separate
reels in mind and, as a result, each is
an entertaining separate subject. How
much better than one long unwieldy
record of the summer's vacation!
When the happy traveler returns and
views the results of his cinematic ef-
forts, let our New Year's greeting to
him be that never, as his films flash on
the screen, will he have cause to repeat
the saddest words of tongue or pen — "it
might have been."
There's lots of
fun in splashes
[Continued from Page 297]
ground, your assistant throws a glass-
ful of water over the crowd. The scene
is later spliced into a diving scene just
after the diver leaves the end of the
board. Try it.
The subject abounds with opportu-
nities for humor. There is nothing so
exhilarating, so salubrious as a perfect-
ly executed "belly flop." One can al-
ways fall back on the use of titles. Sam
learned all the dives at the age of twelve,
followed by Sam hopping on the end
of the board. Then would come the title,
He still knoivs every dive in the city!
(Someone in your audience may laugh.)
Swimmers are now lined up for a
race and the starter has his pistol in the
air. (Time out while we reduce our lens
opening one stop to allow for the re-
flection from the water.) Someone on
the sideline maliciously claps his hands
together and the first swimmer makes
a false start. They are lined up again
(long shot) , the gun is fired (close up) ,
they dive (medium shot), several of the
spectators are splashed with water (ar-
tificial), they are swimming madly,
their arms churning like wind-mills
(taken from a high angle), one of them
is swimming in the wrong direction
(camera held upside down), the win-
ner touches the mark and turns to smile
(close-up). Thus the reel goes on.
There is little need for delving into
other branches of water sports, for the
same principles apply to all; continuity,
camera technique and the comic. Why
not make up a full reel of All Wet?
Summer has come, and there is water
everywhere, in baby's bath and in the
ocean. Let your summer films show
many splashes!
A BIG SCREEN
That's Easily Used at Home — in School — and in Business
The DA-LITE
DE LUXE
Challenger
The Da-Lite De Luxe- Challenger
is the newest development in port-
able screens designed to take ad-
vantage of the big picture possi-
bilities of the new super-illumina-
tion projectors.
This screen permits either a 45x
60 or 52x72 picture and at the
same time provides the same easy
carrying — the same easy storage
— and even easier erection than
smaller screens.
Unfolding the tripod legs places
the unit in a standing position.
The case is then swung to hori-
zontal and the projection surface
raised to full height by a single,
Dositive, effortless crank driven
movement.
The Da-Lite De Luxe Challenger
may be collapsed into a small,
compact, locked-together unit for
storage — or, the tripod may be
left erect, the screen case latched
in a vertical position and the
whole unit stood in a corner out
of the way, but ready for instant
use. This model is beautifully
finished in brown crackle, with highly polished
nickeled trim. The projection surface, of course,
is the Da-Lite super glass bead, the most highly
developed projection surface available to-day.
45 x 60 only $40
52 x 72 only $55
Dealers are rapidly being supplied with this in-
novational screen. If yours is not yet able to dem-
onstrate it to you — write for illustrated literature
on this and other Da-Lite models — all of the same
quality — all having the Da-Lite super glass bead
surface — priced from $3.00 up.
The DA-LITE SCREEN CO. INC.
2721 N. Crawford Ave.
Chicago
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4,TESSARF2.7andF3.5,TELE-TESSAR F6.3
■ FINDERS ■ FILTERS ■ SUN SHADES •
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., NewYork. 728 South Hill St., Los Angeies
312
JULY 1932
Send S2.00 and copy for two short
titles. A Test Strip will be given free
with every order.
48 HOUR SERVICE
RALPH C EN€
America's Pioneer (16mm.) Art Title
Builder and Film Editor. Charter
Member ACL
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
CAMP CINEMATOGRAPHY
For photographing
the varied activities of camp life, for
projecting the evening show at camp,
consider us always at your service.
Moderate Fees . . . Expert Operators . . .
Individualized Service
NEIL P. HORNE
1425 Broadway New York
PEnn 6-2634 Telephones PEnn 6-7747
HAZEN COON PRODUCTIONS
100 ft. 16 mm. $2.90
A high standard of quality is maintained despite the low
cost. Every one is guaranteed to please you. If it does
not. mail back within two days ef arrival and receive
immediate cash refund. You are the judge.
ANIMALS OF NORTH AMERICA NIAGARA FALLS
BOATS OF THE GREAT LAKES FAST FLYING
END TITLES
Every one on a moving photographic background — each two
and one half ft. long — no two alike. 10 for $1.00 — postpaid.
H. C. FILM SERVICE &,"Ti ft;
100 feet 1 6mm Safety Film
Daylight $4.25 Loading
For those prefering a faster film we offer our
Grayback Panchromatic Super-Sensitive Film
Priced at $5.75 100 Feet
These prices include FKEE PROCESSING with a
negative and a positive print.
Also Parcel Post Charges Prepaid.
Send f" Straube Film Lab. % Vn.g'cffi
Literature
UP
TO
50% OFF
NEW
Standard Equipment
Film and Accessories
Universal 400 ft. Disc Sound $13.95
Travel, Educat'I, Cartoon C'dy. etc.
Silent: 100 ft., $3 — 400 ft. $8.
., .■ Model 'M' Camera & Case.. $49. 75
h A \ I IVI A N r,lm Cleaning Outfit 73
I. HO I 1(1 Mil splicing Outfit 1.28
400' REELS 38c
y71 9BBCamch»$75 HUMIDOR CANS 45c
BEU& HOWELL i SIMPLEX
16mm. CAMERA and CASE $35.00
CASETTE PROJECTOR $75.00
Kodacolor Lens — Very Special
n i t II r M Raw F''™ (Magazine) $1.49
rAI H r A DeLuxe Projector $10.49
i n ■ ni-n 9i/2fn^., 30' film, 45c 9'/2mm., 60' 90c
Glass beaded 30"x40" screen on roller, $4.86
IN Al CONDITION— Guaranteed
Eastman f/1.9 B.B. Camera, $54.50
Filmo B. H. 70A camera, case, $65
Bargain &. Library Lists — Same day service!
Mogull Bros., 1944 Boston Rd.J.YC.
Photometer
Model 'A'
$13.50,
and Case I
USED
Once in a few centuries
[Continued from Page 300]
Ephemeris, Total Eclipse of the Sun,
August 31, 1932, for sale by the Super-
intendent of Documents, Washington,
D. C, price twenty five cents.
The ordinary camera is equipped
with a one inch lens which gives an
image of the sun about l/64th inch in
diameter. This will appear on the screen
as a small dot of light too tiny to mean
much. However, if the party has several
cameras, one having the ordinary lens
may be used to get such details as shots
of the individual members setting up or
using other cameras. Many details can
be made at another time; for example,
scenes of birds going to roost or bewil-
dered animals, shots of a thermometer
changing temperature or a spider's web
with dew on it. It must be borne in
mind under what conditions of light
these things happen; consequently the
diaphragm should be opened wider.
A second camera set on a hill may be
aimed at the landscape in the direction
of the approaching shadow of the moon
and so composed that the scene includes
more ground than sky. This should be
equipped with a fast lens and supersen-
sitive film as the light of the sun will
have disappeared at this time. The
shadow approaches rapidly so the opera-
tor must be on the alert and should start
the camera a few seconds before the
time calculated for its appearance. This
camera may then be swung through 180
degrees and rewound, ready to get the
receding shadow.
A third camera using a regular lens
may be set to show the crescents on the
ground under a tree and it may run for
a few seconds at intervals to show a
gradual change in the shape of these
crescents as the eclipse progresses. An-
other camera with a regular lens may be
fixed so that it is trained on a white sur-
face on the ground, such as a sheet, on
which the shadow bands will be seen.
Since their size, direction and speed be-
fore totality may not be the same as
afterward and since a record of these
changes is of scientific interest, it would
be well to make some marks on this
sheet or other prepared white surface
which would indicate the points of the
compass and give a scale showing the
actual size of the bands.
This outlines a procedure for several
cameras using regular lenses but the
sun itself will have to be shot with as
long a telephoto lens as can be pro-
cured. Several more cameras carrying
lenses of intermediate focal lengths may
also be employed profitably.
The solar prominences are masses of
luminous gas some hundreds of thou-
sands of miles above the sun's surface.
They are seen during an eclipse as small
red or orange flames. It is doubtful if
they can be photographed with ordinary
color equipment. Further, they can best
be shown in black and white by using a
very long focus lens which will include
in the 16mm. field only a part of the
limb of the sun.
An extra camera or two should be
ready for use in case one of the others
jams. Also, an extra camera may be
useful in filming certain aspects on su-
persensitive as well as on panchromatic
film. Tripods are indispensable. One
cameraman should be chosen to direct
operations and the cameras should be
set up for practice several days before-
hand. Several rehearsals of the event
will prevent blunders when the actual
filming takes place. The exact time of
the eclipse will vary with the locality,
hence the directorial details will de-
pend on the plans of the expedition.
These plans should be arranged com-
pletely and to the second, and all de-
tails should be included in rehearsals.
Care should be taken that no lights
get in the way during totality. Accurate
determination of the position of the
party on the map is essential, location
being indicated by reference to the ex-
At the apex of the cone, Fig. 1, the eclipse appears as total.
Fig. 2 is a graphic schedule of each phase in its progress.
•3-'
c* m m #o
iLUiti-a.Un.^ th.e_ Four tOh.ta.tts
MOVIE MAKERS
313
act distance and direction from some
street intersection or prominent land-
mark.
This all assumes fair weather and the
chances are said to be slightly in favor
of a clear day east of the White Moun-
tains and in Canada. The mountains
themselves are rain breeders and imme-
diately northwest of Mt. Washington
is probably the region that has the least
chance for good weather, although, if it
is clear, the sun will appear over the
Presidential range and the eclipse will
be seen in a magnificent setting. The
summit of Mt. Washington would be
good if clear and would be excellent for
viewing the moon's shadow. (See The
Clinic this month for more information. )
Strike up the band!
[Continued from Page 298]
form of a "V." There is usually some
sort of "flatiron" building at the apex
of this "V" from a window of which the
cameraman may point his lens straight
toward the line of march. This offers
one of the most pleasing viewpoints
possible for this sort of thing.
In shooting from a window, don't
photograph through the glass; put the
sash up for an unimpeded view, else the
film may contain some very queer, dis-
torted effects. Besides this, the window
glass will subtract a certain amount of
light.
Shots from a window may be effec-
tively alternated from long shot to close-
up by the use of a one inch and a three
and three quarter or four inch telephoto
lens, placed in the turret so that either
can be switched into place instantly.
Remember that, to get evenness in ex-
posure, the stop used on the telephoto
should be the same as that used on the
one inch lens. There is one possible
exception to this rule, however. When
the long shot contains many subjects
dressed in white and the closeup, taken
through the telephoto, is to single out a
subject who may be dressed in black,
the telephoto lens diaphragm will have
to be opened a little wider for this spe-
cial subject. Exposure is always a mat-
ter of the light which the subject re-
flects into the lens.
If the cameraman should be so fortu-
nate as to have a comfortable, elevated
location from which to shoot, he should
nevertheless not forget that the most
effective screen pictures are those which
include a variety of camera viewpoints.
The use of two or more cameras would
be an excellent way to report such a
subject cinematically. One could be at
the curb, one in the window or other
elevated viewpoint and a third could
mingle with the crowd, on the lookout
for interesting atmosphere shots.
A most effective shot that can be tried
whenever processions are involved is the
placing of the camera directly on the
J[ 2 inch
FOCUSING LENS
for the
SIMPLEX
POCKETTE
CAMERA
In our last month's announcement of
a Coerz Kino-Hypar f/2.7, 1 inch fo-
cusing lens for the Simplex Camera,
we mentioned that a 2-inch / 3 lens
of this series was in state of prepara-
tion. This lens is now ready and of-
fers an increased utility to owners of
Simplex Pockette Camera, who will
now be able to use this most compact
of cameras for long distance work and
for closeups in sport, travel and gen-
eral cinematography. Your regular 1"
f/3.5 lens can be made interchange-
able with this lens.
GOERZ
KINO-
HYPAR
//3
for long distance work
and closeups in sport
and travel with the
Simplex Camera.
$45
$2 to $5 for change of finders.
The 1" f/2.7 has elic-
ited an enthusiastic
response from Simplex
owners. This lens can
now be furnished from
stock $35
C.P. GOERZ AMERICAN OPTICAL 0>
321 EAST 34" STREET
NEW yORK CITY
Professional Effects
with your amateur camera
now possible by using the new
H.
M.
combination
MATTE BOX, SUNSHADE and FIL-
TER HOLDER with Harrison H.M.S.
professional filters. Obtain wide va-
riety of effects never before within
your reach.
Fits any standard 16mm. camera;
also Eyemo, DeVry, etc. When you
order, BE SURE to give name of
camera, lens equipment and lens
mounts.
Price complete — $7.50
List and prices of filters on request.
Professional editing service a specialty. Art
titles made to your order. Write for prices.
Scene numbering slates, $1.00 each.
HOME MOVIE SCENARIOS, INC.
1220 Guaranty Bldg.
Hollywood California
Make
a Scenario of
Your Summer
Pictures
— of happenings
here and there, built
into one continuous
story carefully plan-
ned in advance.
To make the story
complete you will
need titles. Ask your
dealer or write us di-
rectly for informa-
tion about our new
inexpensive Koda-
titles.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
314
JULY 1932
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
Distinctive Printed Titles
Plain and original art backgrounds, 25c upward.
Pictures, maps and drawings copied. Samples
gratis. Correspondence invited. Personal at-
tention given your cine and title problems.
Production of professional 16mm. industrial,
dental and travel films.
W. STUART BUSSEY
814 N. Meridian St. Indianapolis, Indiana
Lincoln 1207
16MM.
35MM.
SPECIALIZING
in the
design and construction of cam-
eras, projectors and printers built
to individual specifications.
Equipment altered, rebuilt
or repaired.
Estimates furnished on all
cinematic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
SOUND
112 East 73d St.
New York City
RH 4-4950
COLOR
► Exchange Your Library Film 4\
k Complete variety of subjects A
^ $1.00 400 ft. $1.00 }
k Orders shipped the day received a
Send for lists
Manhattan Film Rental Library
5115 18th Ave.
Brooklyn, N. Y. \,
/VJI£|J IN ON YOUR
WWII CAMERA
If you like to take pictures — and you know how
to make fairly legible pictures — you can easily
make your camera bring you a nice income.
SELL YOUR PHOTOGRAPHS
Magazines, newspapers, advertisers pay millions
of dollars yearly for the photographs they print —
and are eager to buy more.
WHEREVER YOU LIVE
Bight in your own neighborhood there are sub-
jects for thousands of interesting pictures that
you can take, and sell.
EARN EXTRA MONEY
in this delightful, spare-time occupation .
quickly learned at home.
QUICK SALES
Many U. P. student-members start selling pho-
tographs four or five weeks after enrollment. U. P.
picture-marketing service is available from the
start.
JOURNALISTIC PHOTOGRAPHY
as taught by Universal Photographers Corpora-
tion, through unique, easily understood, home-
study system, is making it possible for hundreds
to turn their ability with a camera into nice
profits, in snare time.
YOU, TOO, MAY QUICKLY LEARN
at low cost, at home, and become a permanent
member of this twenty-two-year-old photographic
organization.
It costs nothing to investigate.
Fill in and mail the coupon today and get FREE
BOOK, with full details. No obligation, of course.
UNIVERSAL PHOTOGRAPHERS
CORPORATION
10 W;st 33rd Street, New Ycrk
Universal Photographers Corporation,
10 West 33rd St., New York.
Send me without cost or obligation, your book-
let, "Journalistic Photography," telling me how
I mav make money with my camera, as promised
In MOVIE MAKEBS for July.
Name
Address
Correspondence strictly confidential.
No salesman will call. (140)
ground, pointing upward at the march-
ers as they approach. A little of this
will go a long way, but the idea offers
an effective means for securing variety
in the film. In pointing the camera up-
ward, in all probability a lot of sky will
be involved, so that it is best to close the
diaphragm down one stop over the nor-
mal when making this kind of shot.
If the police are complacent, the ama-
teur might endeavor to secure a point of
vantage on one of the car stop "safety
islands" in the middle of the street, if
such exist. An oncoming view of a pa-
rade, dividing up before the camera,
will be highly effective.
Where pageants are involved, it is the
amateur's duty to movie posterity to
seek diligently the best viewpoint pos-
sible. In many cases he will find the
pageant played against a highly anach-
ronistic background. A stately minuet,
paced out on the greensward in the
full costume of an olden day, would be
an excellent movie subject, but it should
be the amateur's care not to include as
part of the background a complacent
audience of notables and their wives, in
silk hats and summer furs. The audi-
ence is important in its place, but this
place should be elsewhere in the film
and should not serve as a background
to a costumed pageant.
Daytime pageants are often played
out in bright sunlight and, since most
of the old time costumes are bright in
color and ample in area, the cameraman
must remember that here he will be
confronted with subjects which are effi-
cient reflectors of light. Let him not,
therefore, be led astray by the possible
fact that the background may consist of
a dark mass of trees or foliage. It is the
action that is important and, if that
action is brightly illuminated, a small
stop should be used, regardless of the
background.
Pageants of a special nature are
often held after dark and are highly
effective because of the sharply etched,
illuminated figures against the back-
ground of night. Since such spectacles
are almost always given plenty of il-
lumination, the amateur may plan to
record them on supersensitive cine film,
using a fast lens for the purpose. Here
he must guard against any accidental
flare that may result from one of the
huge floodlights which may shine di-
rectly into the lens. If the camera loca-
tion involves this danger, the lens may
always be shielded by a hat or other
opaque object.
Most amateurs are now sufficiently
familiar with the remarkable possibili-
ties of supersensitive film to realize that
it is easy to take successful pictures of
Fourth of July fireworks. Usually this
calls for a wide open stop and a fairly
fast lens ; pictures can then be taken at
normal speed. Except in set pieces, it
is difficult to predict just where in the
sky area any given display will burst, so
that the amateur must be quick on the
trigger.
But all this year will be rich in oppor-
tunities for the amateur cinema to
record and preserve the various Bicen-
tennial celebrations and these opportu-
nities should not be neglected.
Amateur clubs
[Continued from Page 299]
film and the relationship of the pictorial
in movies to stills. Wild Rice and Moon
Movies from the League's Club Library
were screened at a late meeting.
First features Members of the
Northeast Amateur
Movie Club, in Philadelphia, are active-
ly engaged in the production of their
first feature picture which will be
known as Doctor Ricco and will run 800
ft., 16 mm. The title role, that of a
young scientist set on transforming a
criminal into a normal being through
an operation, will be played by Robert
Stevens. Others in the cast are Florence
Wydro, Albert and Robert Armstrong,
Maurice Bridgewater, Edwin George,
Fred Batezell and Burket Taylor. The
picture is being photographed by Wil-
liam Scargle, ACL, and directed by
Comly J. Webster, Jr., ACL. Bermuda
By Boat, a well planned travel and
scenic film by Edward J. Hayes, ACL,
was screened by the Philadelphia group
at a late meeting.
Hungary B Jn Budapest, Hungary,
the Amateur Movie
Maker's Club meets twice a week and
numbers 131 enthusiasts on its member-
ship roster, according to a report from
Andreas Lowy, ACL, in that city. At
a late meeting an unusual amateur film
inspired by All Quiet On The Western
Front was presented by Mr. Dudas.
Running 300 ft., 9.5 mm., the film offers
outstanding effects which were achieved
through the careful use of models in
representing the war area. Other films
screened were of the "zoo," in Budapest,
and a well planned travel reel of Venice
made by Mr. Laszlo. Dr. Gimesi Nan-
dor is president of the club and Dr.
Rubenstein Tozsef is secretary.
Waterloo ■ Under the leadership of
George W. Mack, the
Waterloo (Iowa) Movie Makers are
growing active again, combining still
photography with their interest in mo-
tion pictures. The Lugger from the
League's Club Library was screened at
a recent meeting.
Philadelphia ■ The late May meeting
of the Philadelphia
Amateur Motion Picture Club was de-
voted to the screening of all entries in
the recent Interclub Contest in which
this club took part. Previous to this
MOVIE MAKERS
315
screening the club held its annual busi-
ness meeting for the election of officers
and directors for the coming year. The
new officers will be announced in a suc-
ceeding issue of Movie Makers.
Oakland ■ Members of the Greater
Oakland Motion Picture
Club are competing with each other this
summer in a club filming contest which
will end the last of October. Regula-
tions for this competition are of the
simplest, a point which it is well to keep
in mind in arranging a summer contest
within a club group.
In Australia ■ In Semaphore, South
Australia, the Alton
Movie Club has completed The Ruse
And The Ring, 100 ft., 16 mm., and has
held a number of successful public
screenings of the new production. The
plot, which was taken from a past issue
of Movie Makers, was scenarized and
photographed by George S. Hutton, Jr.,
with H. W. Allen doing the directing.
In the cast were Fay Went, Jean Hutton,
Ray Kitson, Perce Pollnitz, Cliff Howe,
Frank Went and Jack Gordon. The
Alton Club has been busy outside of
photoplay production in making films
for two local motorcycle clubs and a
newsreel film record of the Semax-Sem-
aphore Carnival. The latter film has
been distributed over a chain of local
picture bouses.
Boston ■ Exposure meters were dis-
cussed and demonstrated
by Eddie Atkins, A. C. L., at the most
recent meeting of the Boston Cinama-
teur Club. Contributions to a later open
forum discussion of the subject were
made by Bill Meikle, Leo Green, Joe
Dephoure, Irving Smith, Henry Shaw,
A. C. L., and Samuel Gilbert. After the
talk, films by Mr. Dephoure, Mr. Meikle
and Joe Barron, A. C. L., were project-
ed. Attractions of earlier programs were
a talk on filters by Irving Smith, a dem-
onstration of interior lighting by A. H.
Dockray and a talk on trick filming by
Tom H. Patton, A. C. L. Recent screen-
ings of members' films have included
White Mountains by J. McHugh, A. C.
L., Our Children by Mr. Patton, Indoor
And Outdoor by Mr. Shaw and topical
pictures by Ben Larsons. An invitation
to new members was recently broadcast
over station WLEY in Boston. The
club's roster now numbers thirty four.
OrangCS ■ ^wo a^ interior come-
dies have been recently
completed by the Amateur Cinema Club
of the Oranges: Broken Dreams, in
which Ethel P. Hayward and Frank M.
Seiffert Jr., A. C. L., played the leads,
and When The Husband Is Away The
Wife Will Play, in which Miss Hay-
ward, Ruth Hart, Mrs. W. B. Howell
and Frank M. Seiffert took the leads.
British amateurs
Sheffield ■ The Sheffield Amateur
Film Club is producing
a comedy to be called City Slights
which will run three reels. It includes
a motor car chase sequence done at
night and many other hair raising and
difficult cinematic. stunts. The club has
been moved to larger quarters which
will afford a projection theater seating
one hundred and equipped for sound
and silent films, a laboratory and dark
room in addition to the studio.
Newcastle ■ Tlle latest Program of
the Newcastle and Dis-
trict A. C. A. included a discussion of
making sound on disk films by A. Lo-
gan, A. C. L., accompanied by the pro-
jection of four talkies, Cupid Commer-
cialized, a song and dance film, char-
acter burlesque and a synchronized
natural history study of the life cycle
of a caterpillar, all produced by Mr.
Logan. At an earlier meeting, Fast And
Furious, a comedy filmed by the Man-
chester Film Society, and the first in-
stallment of The Greatest Shoiv On
Earth, a serial photoplay of circus life
being made by E. W. Younger, A. C. L.,
were screened. The Newcastle club has
selected four scenarios of about 500 ft.
each for this summer's production.
Manchester ■ Work is progressing
on the current pro-
duction of the Manchester Film Society,
a burlesque gangster film, provisionally
titled, The Underworld King. Philip
Haynes is directing and is responsible
for the script. H. L. Oilier is camera-
man. A feature of the production is
that, as far as possible, it is being made
by new members with little previous
experience. Old members and officials
are remaining in the background to
give the new ones a chance to show
their ability. Membership in the Society
has recently increased fifty percent.
Practical films
[Continued from Page 301]
Listing covers such diversified topics as
crops, live stock, garden products, pests
and dangers to animals and plants,
rural life and farm engineering, fores-
try and forest conservation and soils. A
large number of films noted in the
directory are available on a free loan
basis, while others are listed as for rent
and for sale. A request to the Bell &
Howell Company, 1801 Larchmont Ave-
nue, Chicago, 111., together with eight
cents in stamps for mailing, will bring
the directory to anyone interested.
Nature ■ To stimulate knowledge of
and interest in bird life,
Walter W. Bennett, ACL, in Sioux City,
(Rdlleiflex
Combining the simplicity and oper-
ating economy of the roll-film type
with the accuracy of a reflex, Rollei-
flex represents the greatest advance
in camera construction. A high-
speed, focusing finder lens projects
a brilliant image — full film size and
right side up — on a ground glass
screen, indicating, even thruout
exposure, the sharpness you will
obtain on your negative and afford-
ing you visual evidence of your
subject's pictorial qualities. . . .
Truly, Rolleiflex is the camera
that thinks for you.
Literature on New Models
Now Available
BURLEIGH BROOKS
127 West 42d St.
New York
preface MnnK^bt and NigM£ff..„>s in Tlayli
Fv?; Scents- Diffuse JTvcus an«5 many vlbcr effects
Ask your dealer, or write to
GEORGE H. SCHEIBE
ORIGINATOR OF EFFECT FILTERS
16MM. TITLES
We will make sample title "Photography by
(your name)" for 25c.
Or purchase from us any of the articles below and
receive free titles (each 8 words or less) as noted.
2 free titles with 6 reel size REEL PACKS, price,
$2.50 each.
3 free titles with 12 reel size REEL PACKS, price
$3.75 each.
2 free titles with SIMPLEX FADING GLASS,
price $2.00 each.
12 free titles with Electrophot, Price S30.00 each.
See advertisements in Movie Makers for details
these accessories.
Have your adjoining titles dissolve professionally.
Each dissolve costs you but 50 cts. extra.
Member ACL
We do positive printing and developing
J- C. HAILE & SONS
Motion Picture Dept.
215 Walnut St.
Cincinnati, Ohio
316
JULY 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Garry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink & Son, Shattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive.
Fresno: Potter Drug Co., 1112 Fulton St.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Hollywood: Beam's Stationery, 141 J4 N. Larch-
mont Blvd.
Bell & Howell Co., 716 N. LaBrea Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
HOLLYWOOD FILM ENTERPRISES, INC.,
6U58 Sunset Blvd.
Huntington Park: Huntington Park Pharmacy,
6101 S. Pacific Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
EASTMAN KODAK STORES, INC., 643 S.
Hill St.
Educational Project-0 Film Co., 317 N.
Fairfax.'
John R. Gordon, 1129 S: iMariposa i Ave.
T. Iwata Art Store, 256i iEii iEirsii Bt.,
Earl V. Lewis Co., 226 ' W."4th St.
Marshutz Optical Co., 518 VV. 6th St.
B. B. Nichols, Inc., 731 S. Hope St.
Schwabacher-Frey Stationery Co., Box 1347,
Arc. Annex.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Monrovia: Cliff's Photo Art Shop.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
Richard Fromm Photographic Service, 965
S. Fair Oaks Ave.
F. W. Keed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac-
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kalin & Co., 54 Geary St.
Phil Lasher, Ltd., 300 7th St.
San Franriscoi .Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Rafael: Webb & Rogers, 4th and B Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: Camera Shop, 800 State St.
J. W. Collinge, 1127 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
Vf.ntura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Wiiittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Ford Optical Co., 1029-16th St.
Haanstad's Camera Shop, 404-16th St.
Grand Junction: Dean's Camera Shop, 639
Main St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Hartford: Harrison Harries. 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc.. 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg.. 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
McDaniel Gift Shop, 21 W. Forsyth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
Miami Beach: J. R. Willis, 737 Lincoln Road.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
Pocatello: Cook Drug Co., 333 W. Center St.
ILLINOIS
Chicago: Associated Film Libraries, Inc.,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 W. Washington St.
Post Office News Co., 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermilion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Freeport: Emmert Drug Co., 15 W. Stephen-
son St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc.. Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort' Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd & Jefferson
Sts.
Carroll: Rexall Store, 120 W. 5th St.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing Inc., 421 Sixth St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio. 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St-
Dadmun Co., 39 Washington St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Cambridge: E. M. F. Electrical Supply Co.. 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St-
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Movie Service, 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Worcester: J. C. Freeman & Co., 376 Main S-
Harvey & Lewis Co., 513 Main St.
L. B. Wheaton, 368 Main St.
(Continued on fage 318)
MOVIE MAKERS
317
Iowa, former president of the Iowa
Ornithologists Union, is producing two
1000 foot 35 mm. films. Friends shows
in a popular way the cowbird, pine
siskin, ruby throated humming bird and
the cedar waxwing, while the other reel,
Long Billed Curlew, portrays that
desert bird during its mating and nest-
ing season. Mr. Bennett has also pro-
duced Siyo, a three reel 35 mm. subject
portraying the life of the prairie
chicken, and has lectured with his films
before groups throughout the country.
Greenkeepers' aid ■ Divots From
A Greenkeep-
er's Day, two reels, 16mm., has been
produced by the Midwest Greenkeepers'
Association to show the extent and
character of methods of maintaining a
metropolitan district golf course, it is
reported by the Bell & Howell Com-
pany. As part of the Midwest's educa-
tional program, the film will be made
available to greenkeepers' organizations
and golf clubs, according to N. R. John-
son, president, to whom requests for the
film should be addressed at the Medi-
nah Country Club, Medinah, Illinois.
FPCC CI I k/IC m These films, on 16, uii-
rlXtt ril_MJ m iess 35mm, is Sfiecified,
are loaned free - except for -payment of postage.
Requests should be addressed to the Amateur
Cinema League, Inc., 105 W. 40th St., N. Y. C,
and films desired mentioned by titles. Re-
quests, on receipt, are forwarded to distributors
who get in touch with applicants and make book-
ing arrangements. Specific dates cannot be
promised until the applicant hears from the dis-
tributor. Do not send postage with requests;
when it is required, the distributor will notify
the applicant. Of course, films should be returned
postpaid. Some films are limited to groups, in
which cases it is so stated in the reviews, hi
applying for films limited to groups, the type
and probable size of the audience must be men-
tioned. Films are not available outside of the
United States, unless so staled. Any amateur may
apply for films reviewed as this service is not
limited to Amateur Cinema League members.
■ Lightning Proof, one reel, 16mm., re-
viewed through courtesy of the Good-
year Tire & Rubber Company, shows
how lightning arresters for gas filled
balloons are constructed and tested.
■ California's Picturesque Peninsula,
two reels, 16 and 35mm., produced by
Roscoe D. Wyatt, manager of the San
Mateo (Calif.) Chamber of Commerce,
and reviewed through courtesy of Frank
R. Church Films, is an interesting
scenic showing natural beauties of the
county, its attractive homes and salubri-
ous living conditions and aspects of its
agricultural industry as related to
flower and berry growing. The film is
available to groups.
■ Empires Of Steel, four reels, 16 and
35mm., a Pathescope production re-
viewed through courtesy of Post & Mc-
Cord, Inc., follows the construction of
the Empire State Building from the
fabrication of the structural steel in
Pittsburgh to the completion of the
erection of the steel frame on the site
of the old Waldorf Astoria in New York
City. The film is a fascinating record.
News of the industry
[Continued from Page 304]
1438 North 13th Street, Philadelphia,
and available through many photo-
graphic dealers. The Trinkelite comes
in sets of two or three units, each unit
holding one Photoflood bulb. An out-
standing feature of the Trinkelite as-
sembly is the special switch which, by
throwing the lamps in parallel or in
series, at will, enables the user to con-
serve the life of the lamps while arrang-
ing the illumination setup. Only during
the taking of the picture need the lamps
be burned at their full voltage. In the
three unit set, two lamps are arranged
in this way, while the third is controlled
by a key switch. The units are designed
to be hand held, although a folding
tripod may be had if desired.
Zeiss booklet ■ A new ancl com
prehensive book-
let, concerning the cine lenses and lens
accessories offered by Carl Zeiss, Inc.
to the amateur and professional movie
maker, may be had on request to that
company at 485 Fifth Avenue, New
York City. There is also available a new
edition of the Zeiss Ikon camera catalog.
Professional thrills for
16 provided by Elmer Dyer
Missing ■ From J. C. Freeman &
Company of Worcester,
Mass., are missing Grass, Fast and Furi-
ous, Smith's Pony, Boys to Board and
Fast Company, all from the film library
of that company. The loss of these films
followed the visit of two men not hither-
to known to store employees. Any word
of these lost films will be appreciated.
Eno offers ■ ^ ^ree siriP ol 16 mm.
test film, on which to
adjust the projection focus of your fa-
vorite reel, is being offered by Ralph
R. Eno with each order for his popular
line of art titles.
Ensign titler ■ Owners of Ensign
cameras are now
enabled to make titles quickly and in a
convenient manner by making use of
the new Ensign Title Writer. This ac-
cessory makes provision for the use of
the smaller sized title cards, on which
BARGAINS
slightly used
Motion Picture
AND STILL CAMERAS & LENSES
listed in our new
Bargain Book
— a few sample bargains —
RISDON 16mm., MOVIE CAMERA
with B. & L. //3.S Lens $13.50
CINE KODAK MODEL BB, 16mm.,
with / 1.9 Lens 69.50
VICTOR CINE, 16mm., with Xenon
//2 Lens 72.50
Guaranteed Fully and Sold on Ten Days' Trial
or Money Refunded if Not Satisfied.
— SEND FOR YOUR COPY TODAY —
CENTRAL CAMERA CO.
230 S. Wabash Av., Dept. MM-7F, Chicago. 111.
St
TITLES
, , Ac.t ' Complete editing and titling
I VESTtHDAV I service. (16 mm. or stand-
/f>\ ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendale 0011
DETROIT, MICH.
WALT DISNEY'S
Mickey Mouse
and
SILLY SYMPHONY
16mm. SILENT
CARTOONS
DISTRIBUTED BY
CINE ART
Complete catalogs on request
of all Cine Art films — over
600 subjects now listed.
100ft. . . $3.50
HOLLYWOOD FILM
ENTERPRISES, INC •
6060 Sunset Boulevard
Hollywood, Calif.
318
JULY 1932
{Continued from -page 316)
MICHIGAN
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner it Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co., Dept. 290.
E. B. Meyrowitz, Inc., 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Camera Shop, Inc., 16 Monroe
Ave.
Photo Service Shop, 44 Monroe Ave.
Jackson: Royal Film Service, 125 Michigan
Ave., W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co.. 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange. 5 S. Fifth St.
St. Pau-l: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St
Hanley's Photo & Radio Shop, 116 E. 10th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
MONTANA
Billings: Midland Drug Co., 23 N. 27th St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 MonticeMo
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artists Photo Service, 19 4th St.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Moruistown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfield: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
Vineland: Kobbins Photo Service, Inc., 615
Landis Ave.
West Engi.ewood: C. M. Vanderbilt, Inc., 374
Briarcliffe Rd.
West New York: Rembrandt Studio, 526 "d"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadway.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Butpai.o: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co..
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 305 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 145 E. 60th St., nr. Lexington
Ave.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
Abe Cohen's Camera Exchange, 120 Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop, Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Giinbel Bros., Dept. 575, 33rd St. and Broad-
way.
Joseph P. Hackel, Rm. 1919, Chanin Bldg..
122 E. 42nd St.
Hecker's Camera Store, 1519 Amsterdam Ave.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician. Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
LUMA CAMERA SERVICE, Inc., 302 W.
34th St.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz, Inc., 520 Fifth Ave.
MOGULL BROS. ELECTRIC CORP., 1944
Boston Rd.
New York Camera Exchange, 109 Fulton St.
Parker and Battersby, 146 W. 42nd St.
Pickup ft Brown. Inc., 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
Frank Tanham & Co., Inc., 9 Church St.
W1LLOUCHBYS, 110 W. 32nd St.
Pelham: Kolb & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley, Lindsay & Curr Co., Kodak Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Lincoln Photo Service, 1136 Lincoln Ave.
White Plains: Cooper Bros. & Co., Inc., 56
Main St.
Yonkers: Joseph F. Blatzheim, 4-6 Riverdale
Ave.
NORTH CAROLINA
Charlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 N. Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard St.
Canton: Roth & Hug Co., 539 N. Market Ave.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416J-2 Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Dept. 90, Public Square.
Home Movies Co., 1501-7 Superior Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply, 62 E. Gay St.
Don McAlister Camera Co., 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams. 2028 E. Third St.
Findlay: Day Radio Shop, 111 E. Sandusky St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: V. E. Fowler, 824 Gallia St.
Steuben vii.i.e: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Cottage Grove: Nelson Electric Shop.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept., Fifth,
Washington & Alder Sts.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lebanon: Harpel's, 757-9 Cumberland St.
Philadelphia: G. P. Harrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio, 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
MacCallum Stores, 1600 Sansom St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movia« Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware Co., Sporting Goods
Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Pawtucket: Thomas N. Simpson, Broadway and
Exchange St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Westcott, Slade & Balcom Co., 95-99 Empire
St.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dnry & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Shop, Inc.. 113 W. 6th
St.
Chas. G. Lord Optical Co., 704 Main St.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks, 119 W. Holly St.
Pasco: New Pasco Drug Co.
Pullman: R. R. Hutchison, Hutchison Bldg.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 141 5-4th Ave.
Lowman S: Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. C.
707-11 Sprague Ave.
(Continued on page 320)
MOVIE MAKERS
319
captions may be typewritten or let-
tered. No auxiliary lens is needed with
the device, as the frame itself carries a
small shim which fits under the Ensign
lens shoulder and alters the focus to
the correct closeup value. The acces-
sory, complete with camera stand,
frame and supply of title cards, nibs,
ink and pens, is listed in England at
about $5.50 (£1/7/6) and may be ob-
tained in the United States through Wil-
loughbys, 110 West 32nd Street, New
York City.
Selfridge Shows ■ Commencing
early this
month. Selfridge & Company, Ltd., of
London, England, will carry on during
the summer a comprehensive exhibition
of amateur cinematography which will
demonstrate its possibilities, progress
and products. Representative American
films will be screened during the exhi-
bition.
Guilde grOWS ■ A twenty four
hour title service
is now offered by the Art Title Guilde
in their new and larger quarters, lo-
cated at 5519 Broadway, Chicago, 111..
where Warren J. Scott is manager of the
service.
New meter ■ An exposure meter,
which works on the
photoelectric principle and which em-
ploys no batteries, is now featured by
Spindler & Sauppe, Inc. of Los An-
geles and San Francisco. This instru-
ment is called the Skinner Exposure
Meter and comprises a sturdy, cast
metal case which houses the light sensi-
tive cell on one side and the meter
scale on the other. The sensitive cell,
which is a well known type, is posi-
tioned at the inner end of a tube that
excludes side light and aids the cell to
react only to the light reflected from
the subject. In use, the meter tube is
pointed towards the subject, whereupon,
without further adjustment, the meter
needle will register the result in stop
numbers. Several different styles of
dials may be had if the user wishes the
meter suited to any special condition
of film or camera speed.
Fine policy ■ Advertising agencies
are generally anony-
mous to the readers of the publications
that they serve, their efforts being re-
flected in the quality of the pages they
prepare for their clients. In a letter
that came recently to Movie Makers
from the Foster & Davies, Inc., adver-
tising agency, which serves the Gen-
eral Electric Company, there appears
a statement that might well serve as a
statement of policy for advertising
agency operation. "We are spurred on,"
runs this statement, "by the fact that
we have a good product to advertise
and good people to work with, but, as
well, by the thought that these adver-
tisements are destined for an interest-
ing magazine and must compete keenly
with editorial matter to obtain atten-
tion."
Under this policy, Foster & Davies,
Inc., have carefully studied the type
of readers that Movie Makers offers
and have addressed their client's ad-
vertising specifically to this type. They
have harmonized the general appear-
ance of the advertising prepared with
the style of this very individual publi-
cation of the Amateur Cinema League.
Movie Makers is, therefore, breaking
through the customary anonymity of
advertising agencies to give credit
where credit is definitely due.
Goerz long focus extends
scope of Pockette camera
Cine-Kodak News ■ Cine ama
t e u r s. ac-
tively interested in the fun and further
possibilities of the craft, should not miss
seeing Cine-Kodak News, the attractive
and helpful bimonthly journal pub-
lished by the Eastman Kodak Com-
pany in the interests of home movie
making. A sample copy may be had
on request to the editor in care of the
Eastman company, Rochester, N. Y.
lodent-Agfa ■ As an example of an
effective use of the
nation wide interest in things photo-
graphic, witness the interesting "Na-
tional Smile Contest" held by the Iodent
Company of Detroit in conjunction
with the Agfa Ansco Company of Bing-
hamton. Beginning August 15, the rules
of the contest permit anyone to send in
a snapshot of a smiling person, the win-
ners being eligible for prizes from a
$260 Agfa movie outfit down to a roll
of Plenachiome film. Full details of the
contest may be had from dealers every-
where.
Filmo Topics ■ The conception
and development
of the Morgana color process is the sub-
ject of A Seven Years' Dream, by Lady
Juliet Williams, featured article in the
current issue of Filmo Topics, a pub-
lication of the Bell & Howell Company.
CRAIG JR.
SPLICER
*5.00
CRAIG now offers a new splicer devel-
oped especially for the amateur who
will not: be satisfied with less than a per-
fect, straight splice. It is simple and sturdy
in design, yet attractive in appearance.
This Craig Jr. Splicer may be mounted
individually or as an editing unit mounted
on long board with one free-running post
and one Thalhammer Silent Rewinder.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the Bast
Stationery, Cards, Bookplates,
' advertising, greeting cards etc.
Easy rules furnished. Complete
Outfits $8.85 np. Job Presses. $11 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
catalog and all details. The Kelsey
Company, W-48, Meriden, Conn.
Olympic Games
Visitors
Bring your Cine Kodak with you
To LOS ANGELES I
Make our store your headquarters
Complete Service Facilities
8 Hour Processing
3 Projection Rooms,
Editing and Splicing
Service.
SEE YOUR FILMS AS YOU MAKE THEM
Our experts will gladly help you
with exposure and filter data.
EASTMAN KODAK STORES, Inc.
643 South Hill Street
LOS ANGELES
320
JULY 1932
(Continued jrom page 318)
Joyncr Drug Co., Howard & Riverside Avs.
Tacoma: Eastman Kodak Store's, Inc., 91u
Broadway.
Wenatchee: Wheeler's Plioto & Gift Shop, 3J
N. Wenatchee Ave.
Yakima: Yakima Hook & Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Charleston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Fono dv Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Plioto Service, 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store. Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 N. Milwau-
kee St.
Photoart House of Milwaukee. 220 Wells St.
Oshicosh: Coe Drug Co., 128 Main St.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Plioto Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denuiston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (South Africa) Ltd., "Ko-
dak House," Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Plioto House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harrington's, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne. 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
McGill's Authorized Agency, 179 Elizabeth St.
West A ustraha
Perth: Kodak (Australasia) Pty., Ltd.. 662
Hay St.
AUSTRIA
Vienna: Siegfried Wachtl, VII Neubaugasse 36.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd.. 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St., W.
r. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Film & Slide Co. of Canada, Ltd., 156 King
St., W.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave. at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores. Ltd.. 286 Craig St.,
W.
886 St. Catherine St., W.
Film St Slide Co., of Canada, Ltd., 104 Drum-
mond Bldg.
Gladwish & Mitchell. 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Eastman Kodak Co., 24 Yuen Ming
Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cyne-cam-
eras, Senovazna, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Colin, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, 86 Accrington Rd.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. I.izars, 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate St.
E. C. 2: Wallace Heaton, Ltd., The Arcade.
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd.,
119 Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Kodak, Ltd., Kingsway.
Sands, Hunter & Co., Ltd., 37 Bedford St.,
Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St..
Oxford St.
Wallace Heaton, Ltd., 119 New Bond St..
47 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., Dept. 109, 400 Ox-
ford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tvne: Kodak, Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str., 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi. 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Broerstraat 48.
Rotterdam: Bollemeijer St Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Yaroshaz L-4.
INDIA
Ahmedabad: R. Tolat St Co., Bawa's St.,
Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
Calcutta: Army & Navy Cooperative Society,
Ltd., 41 Chowringhee St.
Photographic Stores & Agency Co., 154
Dhuramtolla St.
M. L. Shaw, Ltd., 7c Lindsay St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti St Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo St Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa it Co., Ltd., Sanjo Kobashi.
Osaka: Shueisha, 25 Kitahama 4 Chome,
Higashiku.
T. L'yeda St Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Plioto Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini. S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman. Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd.. 681
Colombo St.
Waterworths, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
294 Lambton Quay.
Te Aro Book Depot, 64 Courtney PL, Gas
Company's Bldg.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien AS, Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PL
Glasgow: Robert Ballantine. 10314 St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol 4
Avenida Conde de Penalver 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store. 109 N. Bridge
Rd.
Y. Ebata St Co.. 33 Coleman St.
Kodak. Ltd.. 130 Robinson Rd.
Singapore Studio and Photo Co., 39 High St.
SUMATRA
Medan: Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet. Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Freiestrasse 74 (So-
deck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Zurich : Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co.. Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co.. Bahnofstr. 61.
VENEZUELA
Maracaibo: MacGregor St Co.. Apartado Postal
No. 197.
$3 a year (Canada, $4.00,
b oreign, $3.50) ; 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
MOVIE MAKERS
321
Featured releases
| This department is for the conve/iience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examined by Movie Makers.
■ Bell & Howell Co., Chicago, 111. A new
list of 62 travel, biology and nature films, each
approximately 400 feet in length, have been
added to the comprehensive catalog of the Filmo
Library. The recent travel listings carry one
from East to West, in the tropics and the north-
lands and should be especially pat in this season
of travel.
■ Eastman Kodak Co., Rochester, N. Y. The
most recent Cinegraphs to be featured in the
offerings of this library are Wandering Papas,
with Clyde Cook, 800 ft.; When A Trick Goes
Wrong, with Charlie Chase, 100 ft.; Ropes And
Arrows, with Our Gang, 100 ft.; and Cabaret
Nights, with Clyde Cook, 100 ft. A new cata-
log of the entire library is now available.
| H. C. Film Service, Detroit, Mich. Animals
Of North America, Niagara Falls, Boats Of
The Great Lakes and Fast Flying are the four
100 foot Hazen Coon productions offered by this
library in July.
B Haselton, Guy D., Hollywood, Calif. Big
Trees Of The Yosemite, 200 ft., is the latest
attractive scenic film offered by the maker of
On The Waves At Waikiki.
| Hollywood Film Enterprises, Hollywood,
Calif. Mickey Mouse and the Silly Symphonies,
famous cartoons from the pen of Walt Disney,
are now available on 16mm. silent film through
Cine Art Libraries of this company. There are
ready in each of the series the following reels:
twelve 100 foot subjects; twenty five 50 foot
subjects; fifty 25 foot subjects; and twenty five
10 foot subjects. Five 100 foot reels of air
thrills, filmed by Elmer G. Dyer, as well as a
400 foot film, With China At The Front, are to
be found in a complete catalog listing more than
600 films.
| Kodascope Libraries, New York City. Isn't
Life Terrible, with Charlie Chase and Oliver
Hardy; Eve's Love Letters, with Stan Laurel;
Golf Nuts, with Eddie Quillan, Billy Bevan and
Vernon Dent ; and Don't Tell Everything, with
Max Davidson, are the offerings of this well
known library for July.
| Reynolds, Ernest M., Cleveland, Ohio.
Through The Thousand Islands, Miami, The
Magic City and Lookout Mountain, Tennessee
are three 100 foot pictures featured in the
Reynolds Gold Seal library. Pixy Pictures, 25
feet in length and suitable for cutting into per-
sonal movies or for children's use are also
available.
Movie Makers
binders
are serviceable and beautiful and inex-
pensive.
Send us only $1.50
and get the only sure means of keeping
your MOVIE MAKERS in hand.
AMATEUR CINEMA LEAGUE, INC.
105 West Fortieth Street
New York, New York, U. S. A.
VACATION
EQUIPMENT
Widest assortment of
16mm. cameras, projec-
tors, lenses and acces-
sories cheerfully dem-
onstrated by Joe
Maggio All
quality merchandise
priced economically in
the present day trend.
Investigate our film
rental library. Many
interesting subjects to
break the monotony of
camp evenings.
Lady Williams, the daughter of Elinor
Glyn, is the inventor of this new process
and tells in her article how the scheme
was born during a visit to Hollywood
and how she worked for seven years on
its development. A copy of Filmo Topics
may be had on application to the Bell
& Howell Company. Chicago, 111.
Four lens turret and back
cranking added to a popular
camera by Eric M. Berndt
Opposite the
Hotel New
Yorker
Annual meeting
of the league
The sixth annual meeting of the Ama-
teur Cinema League, Inc., was called to
order by the President, Hiram Percy
Maxim, at 2:30 o'clock on the afternoon
of May 11. Reports of the officers were
presented which gave evidence that the
League, in spite of the depression, has
maintained a strong position in every
way. After hearing these reports, the
meeting was adjourned until May 18.
in order that proxies submitted might
be examined as to their validity. The
adjourned annual meeting convened on
May 18 and proceeded to the election of
directors. By the unanimous vote of the
meeting, the existing directors were re-
elected to serve for another year. More
than 800 League members were present
at this meeting, either in person or by
proxy. The directors of the League are
C. R. Dooley, Mrs. L. S. Galvin, Lee F.
Hanmer. Arthur A. Hebert, W. E. Kid-
der. Hiram Percy Maxim, Floyd L. Van-
derpoel, Stephen F. Voorhees, T. A.
Willard and Roy W. Winton. The offi-
cers of the League, who are also direc-
tors, are Hiram Percy Maxim, Presi-
dent, Stephen F. Voorhees, vice presi-
dent, Arthur A. Hebert, treasurer and
Roy W. Winton, managing director. The
officers having been elected in 1931 to
serve for two years hold over until 1933.
See the NEW . . .
RCA Victor
sound-on-film projector and
the latest sound subjects
On demonstration at
<M'
bSo»s
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
Art Titles * 3'
c a
u?ord
20 Illustrated Border Styles
Beautiful Borders tor all occasions.
Weddings, Children, Tropics, Winter,
Vacations, etc. Use one or all without
extra charge. Very smart type style.
Eight words or less per title 25c; extra
words 3c. Minimum order $1. "The
End" FREE with order. Quality guar-
anteed perfect. Write for illustrated
folders.
Art Title Quilcle
5519 Broadway
Chicago, HI.
A direct reduction print from 35mm.
BIG TREES of YOSEMITE
PRICE $12.00 (200 feet)
ON THE WAVES AT WAIKIKI
Featuring the dog king of surfboard riders.
Price $9.75 (150 feet)
GUY D. HASELTON 7901 %n0?lyMwonodca Blvd
Highest Prices Paid
ForY
our Lamera
Work
We want 35mm. human interest, travel and
other unusual shots for a series of featurettes
soon to be released. Send us a list of your
35mm. subjects you now have on hand, with
a full description of each subject.
If you have a 35mm. camera, we will be glad
to furnish you with negative at the very low
cost of $3.00 per 100 foot roll, and lend you
every assistance in having your work processed.
Send us a list of your subjects immediately.
CONTINENTAL PICTURES
Kill Cosmo Street
Hollywood, California
AT NAVIUO'S » »
Range of Subjects Comprising Over
2000 Reels
All ready for immediate Exchange
400 Ft. Reels $1.00
plus return postage.
Quality .... Service .... Satisfaction
NAVILIO FILM RENTAL LIBRARY
To Members
5 to 9 REEL FEATURE $1.50 A DAY
Send for Membership Blank
Dealers: Write for Interesting Offer
J. NAVILIO FILM EXCHANGE
1757 BROADWAY
BROOKLYN N.Y.
322
JULY 1932
ISN'T LIFE TERRIBLE
Charlie Chase and Oliver Hardy will con-
vince you, by their amusing misadventures,
that their lives at least are just what the
title indicates.
EVES LOVE LETTERS
Stan Laurel, as a butler, helps his employ-
er's wife to recover some compromising let-
ters, and by their quick changes in costume
they amuse the audience and mystify the
suspicious husband.
GOLF NUTS
Eddie Quillan, Billy Bevan and Vernon
Dent, as clumsy amateurs learning golf,
make every mistake and experience every
mishap that can possibly be imagined.
Every spectator will scream with delight.
DON'T TELL EVERYTHING
Max Davidson marries a buxom widow,
who hasn't the courage to tell him that she
has a grown son, whom she tries to make
Max like, so that she can acknowledge the
relationship and annex him to the family.
Continuous comedy complications.
Kod
ascopc
Lib
ranes,
In*
33 West 42nd Street
New York City
Subsidiary of the Eastman Kodak Company
CJoseups — What amateurs are doing
■ The film. Water, 400 ft., 16 ram.,
which took a first award by the unani-
mous vote of the judges in a recent
interclub movie contest, was drawn
from more than 7500 feet of film, ex-
posed over a period of nearly four years.
It is a splendid example of the syn-
thesized short subject, shrewdly built
up from scattered material around a
simple continuity theme. For this film
the continuity idea was found in the
common phrase, "Water, water every-
where." Scenes of water in many places,
in many forms and in many uses were
compared and contrasted, each new se-
quence being connected to the last by
a clever and effective title. The film was
produced by B. H. Blood, ACL, in Hart-
ford, Conn., who deserves every credit
[or his intelligent adaptation of the best
features of the professional subject.
■ A 16mm. amateur film of the recent
Winter Olympics, which was made by
Dr. Hyman Weiner, ACL, in Saranac
Lake. N. Y., and sent by him as a gift
to the Klub der Kino-Amateure Oster-
reichs. ACL, is now being screened for
Viennese sport clubs and movie groups
by the Austrian amateur club. The film,
which features the victory of the Vien-
nese, Karl Schaefer, in the men's figure
skating competition, was given a
premiere screening at Mr. Schaefer's
skating club and had the further honor
of being the first American amateur
film ever screened by the Austrian
movie club. The League takes genuine
pleasure in noting such a happy exam-
ple of international friendship devel-
oped through a hobby which continual-
ly tops the barriers of nationalism.
■ Telling a delightful and unusual
story of skiing in the mountains of
Japan, the film. White Heaven, made by
George S. Thommen, ACL, Yonkers,
N. Y., took first prize in a field of sixty
six entries in the second all Japan ama-
teur filming contest, sponsored by the
Jiji Shimpo, leading journal of the
Japanese professional screen. Mr.
Thommen also has produced Under The
Roofs Of Japan, a charming study of
social and family customs as seen by a
foreigner visiting a Japanese home.
■ Dr. C. E. K. Mees, of the Eastman
Kodak Company at Kodak Park, will
be among those present on August 31st
at the home of former Secretary of War
John W. Weeks in Lancaster, N. H.,
according to the report of C. Urban
Shorey, ACL in that city. Located in the
center of totality for the coming eclipse
of the sun, Mr. Weeks' home has been
selected as observation headquarters by
Mount Wilson Observatory from Cali-
fornia. Mr. Shorey is planning to get
a few shots himself of the eclipse, as
are several hundred other League mem-
bers, judging by correspondence at
headquarters. Deeply interested in this
cine opportunity, we hope to hear from
ACL members taking the eclipse.
Associated Press Photo
Charlie Chaplin directs own
travel film from camel's back
on vacation through Africa
■ Carlos Buigas, designer and chief en-
gineer of all fountains at the Barcelona
International Exposition, held in Spain
during 1929 and '30, has appealed to
League headquarters for aid in lo-
cating motion pictures of his creations,
which he desires as a personal record
of this unusually beautiful display.
Movie Makers will be glad to learn of
any such films which have been made
by its readers.
■ Writing in the Philadelphia Public
Ledger, Eric M. Knight, cinema critic
of that paper, pays gracious tribute to
"amateur films that are not so ama-
teur. It seems probable," he says, "that
from among them (the ranks of home
movie makers) will come some inter-
ested in the motion picture as a fic-
tional or artistic form, some who will
make the great films of tomorrow."
This is high praise and potent pro-
phecy from a professional judge of the
cinematic art. Mr. Knight concludes
with the pleasant comment: "I suppose
that someone will write me tomorrow
and point out that all I've outlined
above has been done already." Movie
Makers readers will recognize in his
words our own belief expressed more
than six years ago at the Amateur
Cinema League's inception and will
adjudge it now to be a present fact
of which we are proud.
Printed by WNU, New York
CI
a s s i r i e
f
v e r t i s i
ILg
| All classified advertising copy will be care-
fully scrutinized but Movie Makers cannot be
held responsible for errors or statements made by
classified advertisers. Box numbers are -provided
by Movie Makers as a convenience to readers
and classified advertisers alike. Mail received
for these box numbers is forwarded by Movie
Makers unopened to the advertisers concerned.
Remittances, if any, to cover goods offered for
sale in this department should be made to the
advertiser and not to Movie Makers.
EQUIPMENT FOR SALE
■ BASS OFFERS brand new Peko Maestro
improved 16mm. sound projector and built in
turntable 33 and 78, complete with amplifier,
regular §255. cash price, $110. each. Write
for details and be sure to send for your copy
of the Bass Bargaingram #209, crammed with
bargains, 1001 items for amateur and profes-
sional and sent to you free. Before you trade
your old equipment, write to headquarters for
appraisal. BASS CAMERA COMPANY, 179
W. Madison St., Chicago, 111.
■ UNUSUAL bargains in movie cameras and
projectors, all makes and sizes including both
16mm. and 35mm. Send for price list and Cata-
log C. MOVIE SUPPLY COMPANY, 844 S.
Wabash Ave., Chicago.
■ ONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ PATHEX EXCLUSIVELY. Complete, brand
new stock, latest models, cameras, projectors,
raw film, exhibition film, Pathex accessories.
WESTWOOD CINEMA STUDIOS, 1944 Ocean
Avenue, San Francisco, Calif. Mail orders filled.
■ CINE-KODAK Model K, //3.5 lens, black,
brand new and perfect condition, complete with
tripod and Panrite head, $75. H. RUSTIGAN,
34 Lafayette St., Pawtucket, R. I.
■ BELL & HOWELL Filmophone (list price
$656.00) outfit includes 250 watt Filmo pro-
jector, 16 inch turntable, pick-up, amplifier,
speaker, cables and carrying cases. Guaran-
teed like new, price complete, $225.00. BUR-
TON HOLMES LECTURES, 7510 N. Ashland
Ave., Chicago, 111.
■ EYEMO for sale: 8-16 speed, latest model,
fifty foot at winding, Cooke //2.5 and case.
New condition, $100.00. O. F. MENGE, 256
Main St., Buffalo, N. Y.
■ FILMO 75 camera //3.5 lens and T.H.C.
3" //4 telephoto lens. Practically new, good
condition, complete with case, $95.00 cash. BOX
143, MOVIE MAKERS.
■ COOKE 354", f/3.3 lens, $50.00; 1" velo-
stigmat, //1.5, $22.00; Victor camera, //2.6
lens, carrying case, $60.00; Filmo projector,
$100.00; Bell & Howell enlarger, $20.00. All
practically brand new. Six reel feature, $30.00.
SHIPMAN, 1197 6th Ave., 47th St., N. Y. C.
| FULL LINE of accessories for cine and
still photography at lowest prices. Obtain our
prices before purchasing. All raw movie film
at reduced prices. Kodascope C (used) $25.00.
CINECRAFT CO, 80 Boylston St., Boston,
Mass.
■ DE VRY two lens, 35mm. camera, almost
new, perfect condition. Price low for cash.
WRIGHT, Box 410, New Bedford, Mass.
■ FOR SALE cheap or trade, 3 — 200 foot Uni-
versal cameras, 2 — 200 foot Wilarts. Make us
offer, all perfect condition. F. W. BUCHAN-
AN, Johnstown, Pa.
■ BELL & HOWELL Photometers, with case,
as new, $9.00. $10.50 Justophots, brand new,
$7.00. Your old equipment is worth more when
traded in toward new equipment with us. NA-
TIONAL CAMERA EXCHANGE, 5 So. Fifth
St., Minneapolis, Minn.
■ DE VRY D 57 camera, $29.50, De Vry D
projector, $34.50, both for $58.50. 16mm. films
with popular stars, 35c up. Bargain lists.
HOME MOVIE SERVICE, Box 32, Easton, Pa.
| UNIVERSAL camera with sound blimp, 3
lenses, 5 magazines, tripod, good mechanical
and optical condition, $425.00. CARL NEL-
SON, 164-12 110th Rd., Jamaica, N. Y.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
A Word From
Dr. Kinema
♦
1 DON'T want any snap
judging amateur to
conclude that I have
got my focus wrong be-
cause I have hopped into
this classified page. I'm
here with a real motive as
I have always tried to be
when I was further for-
ward in our magazine.
■Away back in 1926 when
this magazine was plan-
ned and I was called into
consultation, the rest of
the gang thought that I
would be satisfied with
The Clinic every month.
But they were surprised
when I said that Movie
Makers must, as a maga-
zine for amateurs, have
some way for amateurs
to buy and sell with each
other and to make the in-
dividual offers of trades
and swaps that are half
the fun of any good hobby.
I asked for classified ad-
vertising, a whole page.
■ Here it is and I claim
that my judgment has
been vindicated. Each
month it carries the mes-
sages that bore right down
into the heart of the real
dyed in the wool kind of
movie maker.
■ There is no reason why
I cannot talk advertising
once in a while and I am
doing it right here and
now. This classified page
is yours to use. I knew
that you would want it
and I ask you now, right
in the middle of the de-
pression and everything,
to use it freely and regu-
larly.
■ In fact, I prescribe it
as the best kind of medi-
cine for you, for Movie
Makers and for the
League.
■ BARGAINS: Bell & Howell 16mm. cine,
$80.00, projector, $85.00, cases included. Also
screen, splicer, etc., very reasonable. All ex-
cellent condition. MASON, 4 Norman Rd., Up-
per Montclair, N. J.
■ PACENT portable, 16mm. sound projector,
with loud speaker, list $270.00, $150.00; ' Top-
ograph portable, 16mm. sound projector in case,
$45.00; Ampro De Luxe projector 300 watt bulb,
$125.00; Filmo projector 200 watt bulb,
round base $65.00; Motioscope projector 50
watt bulb, motor-drive, $14.50; Business Koda-
scope Model C, in case, $50.00; Cine-Kodak
Model M., //3.5 lens and case, new, $50.00;
Filmo Model 70A, //3.5 lens, $75.00; Key-
stone, spring-driven camera, //3.5 lens, $21.50;
Goerz Hypar 15mm. f/2.7 lens in focusing
mount, $22.50; 1" //1.9 Dallmeyer lens in fo-
cusing mount, $20.00; 3%" //3.3 Cooke tele-
photo lens, $48.50; Cane tripod for movie
cameras, $4.50; B & H Photometer in case,
$12.00; Panrite panoram & tilting top, $6.00;
B & H film cleaner attachment, 57 Model, $8.00.
WILLOUGHBYS, 110 W. 32nd St., N. Y. C.
EQUIPMENT WANTED
■ WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
FILMS FOR RENTAL OR SALE
■ Big Trees of Yosemite, 200 ft., 16mm., price
$12.00. On the Waves at Waikiki, 150 ft., price
$9.75. GUY D. HASELTON, 7901 Santa Monica
Blvd., Hollywood.
■ 35MM. NEGATIVE fresh Eastman and Du-
pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75 each.
Sept rolls, 1 dozen, $3.00. Also lengths from
50 ft. to 400 ft., at prices ranging from 1 y> to
2V2c per foot. WARRANTED FILMS, INC.,
729 Seventh Avenue, N. Y. C.
■ PIXY PICTURES (25 ft.) 16mm. short sub-
jects complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. ERNEST M. REYNOLDS, 165 E.
191st St., Cleveland, Ohio.
■ FREE MEMBERSHIP in our rental library.
Write today for application and list of available
subjects. Our rates are very low, our films the
finest. EASTIN FEATURE FILMS, Galesburg,
111.
| BARGAINS in new and used 16mm. films.
Subjects as low as $1.75 per 100 feet. Get our
big free catalog. EASTIN FEATURE FILMS,
Galesburg, 111.
■ SELECTED 16mm. 100 ft. new films, $3.75.
Send for list. Art reels our specialty. LIN-
COLN PHOTO SERVICE, 1136 Lincoln Ave.,
Utica, N. Y.
FILMS WANTED
■ 16mm. or 35mm. FILMS OF BARCELONA
International Exposition, especially of fountains,
by their designer, Carlos Buigas. Address re-
plies to his representative, PEDRO J. SMITH,
260 Riverside Drive, N. Y. C.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE. EXCHANGE PRICES:
400' reel, $1.00; 200' reel, $.50; 100' reel, $.25.
Return postage required. EVERY REEL SENT
OUT CARRIES A GUARANTEE of 100%
SATISFACTION. QUALITY HAS NO SUB-
STITUTE. Ask for list No. 22. CINE CLASSIC
LIBRARY, 1041 Jefferson Ave., Brooklyn, N. Y.
TRADING OFFERS
■ SHOTGUNS, target pistols, rifles and other
good firearms accepted in trade on motion pic-
ture and photographic equipment. Authorized
Eastman, Bell & Howell, Victor, Rhamstine,
Simplex, Pathex, DeVry, Leitz and Stewart-
Warner dealers. NATIONAL CAMERA EX-
CHANGE, 5 So. Fifth St., Minneapolis, Minn.
MISCELLANEOUS
B ART and animated titles made to order.
Movie films developed and printed, 16mm. and
35mm. High class work priced reasonably.
UNIVERSAL FILM LABORATORIES, Dept.
B, 418 Seventh St., Parkersburg, W. Va.
■ SPECIAL 16mm. enlarged to 2I4"x3j4" in-
cluding print, 25c, best results. Write STAN-
LEY, 2317 Scarff St., Los Angeles, Calif.
Full color movies now as easy to
make as snapshots. . . and under a
far wider range of light condi-
tions than ever before.
IN OW you can make full color
movies on dull days or in open
shade with your camera at half
speed... on slightly cloudy days at
normal speed. This is possible be-
cause of Super-sensitive Kodacolor
Film. A few shadows or a partially
gray sky can't prevent this fast film
from faithfully recording every
color, every detail of the subject
and background.
All you need is a Kodacolor
Filter outfit and a Cine-Kodak
equipped with an/, i .9 lens. Eastman
Super-sensitiveKodacolor Film will
do the rest. It's twice as fast as the
original Kodacolor Film. Assures
sharper definition... richer, more
brilliant colors., .than have ever
been possible before.
Imagine the picture on this page
in Kodacolor. The mother bend-
ing her auburn head over the
child's golden curls. The bright
blue of the youngster's blouse, the
mother's gaily colored dress.
Their faces... suntanned. Hazel
eyes. Red lips. Nature itself...
recorded on a strip of film for you
to see again and again on the
screen. That's thrilling enough for
anyone.
Your Cine-Kodak dealer will
gladly show you a reel of the new
Eastman Super-sensitiveKodacolor
Film. Be sure to see him today.
EastmanKodakCo.,Rochester,N.Y.
Eastman Super-sensi-
tive Kodacolor Film
costs no more than the
original Kodacolor
Film {now discontin-
ued} — 1 00-foot roll,
$9.00; 50-/00/ roll,
$4-75-
EASTMAN sup
er-sensitive
KODACOLOR FILM
(UV-^C •M^*****^
nwttviE
Magazine of the Amateur Cinema League, Inc.
AMATEUR CINEMA LEAGUE, Inc
105 West 40th Street Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc.
My remittance for $ made payable to AMATEUR
CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of
this amount, I direct that $2 be applied to a year's subscription to
MOVIE MAKERS. (To nonmembers, subscription to MOVIE MAK-
ERS is $3 in the United States and possessions; $4.00 in Canada;
$3.50 in other countries.)
MEMBERSHIP $5 a year (CANADA $6)
LIFE MEMBERSHIP $100 in one payment
and no further dues.
Name Street
City State Country
One of the Amateur Cinema League's animated leaders is free with
this membership. Please state width you wish — 8mm., — 9'/2nim.,
- 16mm., — 35mm. Aug. -32
For every movie maker,
from the occasional
to the regular addict,
HE AMATEUR CINEMA LEAGUE is not, as some
people have mistakenly thought, a service organiza-
tion only for the advanced amateur. It is geared up
to give to the thousands of occasional filmers the instant,
practical and clearly stated help that they want. No ques-
tion is a foolish question or an unimportant one to the
Leagues consulting staff. We know that those who film
only once in a while have different needs to those of con-
stant picture makers.
The advent of eight millimeter movie making will bring
many people into amateur movies who have looked long-
ingly before. The Amateur Cinema League is ready to
serve the newcomers and to give them the help — through
Movie Makers, through letters and personal discussions,
through telephone calls and by means of bulletins — that
amateurs of longer experience are getting regularly.
Use the coupon above to secure this essential aid to all
good movie making— an AMATEUR CINEMA LEAGUE
MEMRERSHIP.
Five dollars a year
AMATEUR CINEMA LEAGUE, INC
105 West Fortieth Street
New York, New York, U. S. A.
MOVIE MAKERS
327
— ■*
Color
movies
on regular film .... with any
lens under any photographic
light .... permitting duplicate
prints up to 10 feet wide on
the screen ....
Filmo sj
Morgana Projector
With the new Filmo Morgana Camera you
can now take color movies by the best two-
color additive process yet developed. It uses
regular panchromatic reversal film, any Filmo
70-D lens, any photographic light!
You can show these color pictures as large
as 10 feet wide with the Filmo Morgana
Projector . . . and have duplicates made if
you wish, just as from black and white
reversal film.
The Filmo Morgana Camera has five film
speeds— 8, 12, 16, 24, and 32— Cooke 1-inch
F 3.5 focusing lens, and two Morgana two-
color filter units — one for daylight, the other
for incandescent light. Price, $190 (all prices
include federal tax).
The Filmo Morgana Projector, with 300-
watt, 110-voltlamp, and color wheel, is $210.
Both camera and projector are instantly con-
vertible for showing monochrome movies.
Filmo jo
Morgana Camera
A new projection lens
for maximum size with minimum throw
New — The Cooke .64-inch projection lens for Filmo Projectors
(not illustrated). A lens with a wider angle than any other lens
for this machine. It gives maximum picture size with minimum
throw. At 24 inches the picture is 14 x 11 inches. Hence this lens
is .invaluable for window displays (with Filmo Continuous Pro-
jector), and in conventions, exhibits, and auditoriums where a
long throw is often impractical. The .64-inch lens has remark-
able covering power and sharpness of definition. Price, $40.
The B & H
All- Metal Tripod
Everything for personal movies
of true professional quality is
found in the complete B & H
line. One example: The B & H
All-Metal Tripod. It gives the
rigidity which eliminates blur
and jumpiness from the pro-
jected movie, and the smooth,
steady pams and tilts seen in
professional films. Self-locking
tubular legs. Strong enough to
support a 180 round man; light
enough to be carried with
ease. Price, $36.
New B & H Color Filters for modern film
This new series of B & H color filters . . . amber, green, red, and neutral density
. . . was developed especially for use with today's panchromatic and super-
sensitive film. The series includes:
P-2X light amber and P-4X heavy amber filters for general use with panchro-
matic film. S & P-4X green and S & P red filters for either panchromatic or super-
sensitive film: green especially useful for landscapes; red for special effects.
S-2X and S-4X neutral density filters to prevent over-exposure on bright scenes.
Each, mounted individually for Cooke 1-inch F 3-5 lens, $2.50. Pair in metal
slide fitting Duplex Holder, $4.50.
FILMO
Bell & Howell Co., 1843 Larchmont Avenue, Chicago,
New York, Hollywood, London (B & H Co., Ltd.) Est. 1907
PERSONAL MOVIE CAMERAS ■ PROJECTORS • ACCESSORIES
B E LL &
HOWELL
328
tftut
/teeewedi
Wv7 /
NEW ENSICN
AUTO-KINECAM
16 MM CAMERA
WITH THE
NEW REVERSE
TAKE-UP BELT
which enables you to make
PROFESSIONAL
DISSOLVE
EFFECTS
We can make
IMMEDIATE
DELIVERY
of the new
CINE
KODAK 8
Featured on Pages
346 and 347
of this issue.
Start the new scene by opening the diaphragm up slow-
ly. The old scene dissolves into the new one, in the
manner that clever professionals use with such telling
effect.
And it's just as simple and easy as taking the picture
itself.
The Ensign is the ONLY 16 MM camera that has this
new automatic take-up feature — it's just another of the
many points of advantage that make this the most
popular of 16 MM cameras.
It has all these additional advantages:
— f/2.6 Cinar Anastigmat Lens in focusing mount
— 3 Speed Shutter 8-16-64 pictures per second
— Double claw mechanism, die cast body, precision
cut gears
— Hand crank and motor drive
— Pressure control on film gate
— Built-in exposure guide
— Double spring motor giving 35 foot run of film
in one winding
The price, including the automatic
reverse take-up belt is only
including 1" lens and genuine leather,
velvet lined case which carries the
camera and 4 rolls of film. (Without the dissolve
attachment— $99.00.)
110
WilloughbyS
110 WEST 32nd STREET, NEW YORK CITY
329
©C1B 162078
JUL 28 1932 7
%
/
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII' August, 1932 Number 8
R. I. Nesmith and Associates
Cover design James A. Civille
A wider field, editorial 333
Enter the Eight! Russell C. Holslag ACL 335
Plane filming Paul D. Hugon 336
Reeling while they ride 'em Homer Hilton 337
The night boat Andrew Walsh 338
Greece moves west Arthur L. Gale ACL 339
The clinic Russell C. Holslag, ACL 340
Seashore stunts Epes W . Sargent 341
Amateur clubs James W . Moore ACL 342
Mountain madness Porter Varney, A CL 343
Practical films 344
Hits and misses Charles Eastwood 345
And then I went home Kenneth Martin 348
News of the industry 350
Art title background, photograph ^?. /. Nesmith 354
Featured releases 360
Closeups 361
Around the world with Movie Makers 362, 363, 364
Free Films 365
Editor
ARTHUR L. GALE
MOVIE MAKERS
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign $3.50) ; to members of the Amateur
Cinema League, Inc., $2.00 a year, postpaid (Canada $3.00) ; single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August 3, 1927, at the Post Office at
New yi'ork, N. Y., under Act of March 3, 1879. Copyright, 1932, by' the Amateur Cinema League,
Inc. VTitle registered at United States Patent Office. Editorial and Publication Office: 105 West 40th
Street, New York, N. Y. Telephone PEnnsylvania 6-6836. Advertising rates on application. Forms
close on 10th of preceding month.
RUSSELL C. HOLSLAG Associate Editor
JAMES W. MOORE Assistant Editor
ALEXANDER DE CANEDO Art Editor
330
AUGUST 1932
The Model 5 VICTOR, illustrated above is priced at 5180.UU
with the Hugro Meyer F 2.9 one-inch Trioplan lens. (Pre-
viously priced at $220.00.) New Price includes Tax.
The New Victor 5 will appeal to you as being the most beautiful, the
most complete, the finest of all 16 m/m .cameras! The Model 5 is the
original visual focusing, turret front 16 m/m camera. Now it
has many more new features to litt it even farther beyond competition
.... a new graduated dist-a-sicht; an audible-visible film meter;
ATTACHED WINDING CRANK; FILM LOOP GUARD; COLLAPS-O'STRAP HAN'
dle; and rich, gold flecked brown lava finish with satin black and
chrome plate trim .... at a great reduction in price!
The exquisite beauty and amazing performance of the New 5> will thrill
you. Its new low price will delight you. Don't envy the other fellow . . .
Own a Victor yourself. Ask today to see these new Victor Values.
Lenses <>/ all makes, speeds and focal lengths are interchange-
able on Victors. May be equipped /or KODAC.OLOR also.
The VICTOR Model 3 Camera
(one lens, 3 speeds) has won inter*
national fame through its fine perform-
ance and ingenious simplicity. Equip-
ped with 20 m/m Dallmeyer F 3.5
FIXED FOCUS lens, it is now priced
at only - _ _ _._
67 s0
TAX PAID
7/ie, new
VICTOPx
POCrktT
TITLE N.
IO
Now you can make your titles any-
where, anyplace, right in between
scenes. The Victor Pocket Titler (for
Victors and Filmos) folds up and
slips in the pocket. Order now and
"Title As You Go"!
■DECISION
JmbUTwA LOT
MOK€,TOO
JLN a DEPENDABLE 16 m/m Movie Cam-
era mechanical precision is essential — abso-
lutely essential to insure continuous satisfac
tory performance! VICTOR has no peer for
mechanical precision.
But precision alone is not enough. You want
Proper Design and Correct Principles. You
want Completeness, Flexibility, Convenience
and ingenious Simplicity. You want VALUE.
You want ALL that VICTOR has built into
the New MODEL 3 and 5 CAMERAS to
insure superlative movie making results.
ASK YOUR DEALER TODAY to show you
why you want a VICTOR .... the only 16
m/m camera with a 3 -YEAR GUARAN-
TEE.
Victor Animatograph Corp.
DAVENPORT, IOWA, U. S. A.
MOVIE MAKERS
331
At last . . . an editor with
screen motion, plus easier,
better viewing.
New!
Rhamstine
FILM EDITOR
I actual motion as on screen
► easier viewing with mag-
nified picture
(continuous running film
... no claw action
• no loops . .
loading
. simplified
low price for a quality unit . . .
only $35.00 in the United States.
See your dealer or write direct
for descriptive folder.
> easier, better splicing
) reverse action
^compact, with solid, steady
base
) portable . . . viewing lamp
plugs in anywhere
#3-tone, dull sil-
ver, chromium
trim and black
crackle finish.
Complete only
[00
in United States
Note how the compact splicer is easily used
without confusion or waste motion. The hinged
viewing tube makes loading simplicity itself.
Other refinements which make
the Rhamstine* Film Editor an
outstanding product are : a highly
efficient pressure clamp on the
splicer; sturdy base with rubber
rest which protects furniture sur-
faces. There is a minimum of
moving parts, and those have
been made utterly simple.
NEW LOW PRICE!
In addition to incorporat-
ing all of these valuable
features the Rhamstine*
Film Editor sells at a new
PAYS FOR ITSELF
IN FILM SAVED
ALSO A MODEL
FOR STILL WORK
J. THOS. RHAMSTINE* 501 E. Woodbridge, Detroit, Mich.
Manufacturer of precision electrical apparatus for 12 years
ELECTROPHOT photoelectric exposure
meter reduces any exposure problem to
the simple pressing of a button. A glance
at the dial shows what your exposure setting
should be for perfect results. Saves time, film.
Gets those quick shots accurately. Eliminates
guesswork and technicalities. No judging or
estimating. Simply sight ELECTROPHOT and
press the button. Every shot is a successful one I
Ideal for shots under difficult conditions — for
indicating whether color or other specialized work
is possible — for interior scenes — for using the new
superspeed film. A RHAMSTINE* PRODUCT.
At your dealer's $9000
NOW only . . . W V
in U. S. complete with leather case
332
SURPRISING—
How Many Owners of High Priced Movie Cameras
Can be loaded in bright sunlight without any
danger of light fog and the entire operation of
getting ready to take pictures requires but a
few seconds. All that is necessary is to press a
little button on the top of the Simplex Pockette
Camern, which releases the compartment door,
slip the Magazine into pJace, close the door and
begin taking pictures.
Simplex Pockette magazine loaded with fifty
feet of Eastman 16mm. film is the .only system
which permits change from panchromatic to
super-sensitive film — or the opposite — without
difficulty or delay, and with the loss of but
a single frame.
ALSO USE
16mm. MOVIE CAMERA
Simplified Loading
Compactness
Ease of Operation
Special Features
and
Reliable Results
Have won the approval of
experienced movie makers
as well as beginners.
Attractive appearance makes a strong ap-
peal. Quality of materials and precision
workmanship are unsurpassed
bv jiii v other camera.
NOW READY
HUGO MEYER LENS
Giving material increase in speed and higher optical correction is now sold with
Simplex Pockette Movie Camera or can be purchased separately for Simplex Pockette.
Prices :
SIMPLEX POCKETTE with F 3.5 Kodak Fixed SIMPLEX POCKETTE with F 2.8 Hugo Meyer &
Focus Anastigmat 1" Lens $50.0© Company Trioplan Fixed Focus %" Lens S65.00
SIMPLEX POCKETTE with F 2.8 Hugo Meyer & Company
Trioplan Micrometer Focusing Mount %" Lens $T5.00
Plus Government Excise Tax part of which has been absorbed by the manufacturer.
INTERNATIONAL PROJECTOR CORPORATION
90 GOLD STREET
NEW YORK
333
W
THE AMATEUR CINEMA LEAGUE, INC.
whose voice is Movie Makers, is the international organization of movie
amateurs, founded in 1926 and now spreading over more than fifty countries.
The League's consulting services advise amateurs on plan and execution of
their films, both as to photographic technique and continuity. It serves the
amateur clubs of the world in organization, conduct and program and main-
tains for them a film exchange. It issues bulletins. The League completely
owns and operates Movie Makers. The directors listed below are a sufficient
warrant of the high type of our association. Your membership is invited.
THE DIRECTORS OF THE LEAGUE
ITH the introduction of a new method"
for making amateur movies inexpensively,
described elsewhere in this number of
MOVIE MAKERS, a barrier is removed that has
prevented numbers of persons, in the past, from
taking up this absorbing human activity.
This is not the first effort that has been made to
bring the cost of amateur movies within the possi-
bility of a wider range of population groups. One
system has, from the very beginning of amteur
cinematography, been in wide use in countries out-
side of the United States. Its introduction into
North America was complicated by tariff barriers
and by indefinite merchandising policies and the
survival of this system, at the present time, speaks
well for its basic excellence. A later effort, made in
the United States, failed to come off, again because of merchandising unreadiness
and insecure planning for distribution.
The new method, presented this month, promises assured success for a
number of reasons. It is the product of the largest photographic organization
in the world and behind it stands the reputation of that organization for sound
technique and practicality. It has profited by previous experience of others on
similar lines and has met frankly, and solved admirably, the problems of both
machinery and film. But other methods have had technical qualities to recom-
mend them and have, notwithstanding, failed to win the widest acceptance in
all parts of the world. In the present instance, again, the signs are favorable
because the distribution and merchandising are in the hands of those who have
not only had a long and rich experience in these fields but who have borne a
reputation, during all of that long experience, for aggressive salesmanship and
wide advertising based upon a policy planned in advance to cover an extensive
future development of whatever innovations they present.
It is possible, this August, to assert that amateur movies have now entered a
new phase of their development, a phase comparable to that of popular photog-
raphy, when inexpensive cameras and roll film were made available, and to that
of radio reception, when the "build your own" movement was superseded by
the presentation of the completely assembled "set."
The Amateur Cinema League, which has been responsible for so many
advances in the type and quality of equipment offered to amateurs by manu-
facturers, welcomes this constructive move toward a greater popularization of
personal movies. There has not been, nor must there ever be, anything esoteric
and exclusive about this great means of human expression.
Like all true arts, amateur movies will come to their real
greatness when they are in the hands of all of the people.
In welcoming what it believes to be an intelligent and
successful method of inexpensive amateur movies, the Ama-
teur Cinema League recognizes its responsibility to serve the
newcomers to this wider field, as it has served newcomers in
the past, by giving them the service that they may need and
by holding out to them growing standards of excellence, by
which they can measure their progress as they go on from
good filming to better. The marchers will grow more nu-
merous but their objective will remain the same.
HIRAM PERCY MAXIM President Hartford, Conn.
STEPHEN F. VOORHEES Vice President New York City
A. A. HEBERT Treasurer Hartford, Conn.
C. R.DOOLEY New York Qity
MRS. L. S. GALVIN Lima, Ohio
LEEF. HANMER New York City
W.E.KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
A wider field
T. A. WILLARD.
.Beverly Hills, Calif.
York City
ROY W. WINTON Managing Director New
Address all inquiries to
AMATEUR CINEMA LEAGUE, Inc.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
William M. Rittase
Up in the clouds
JUL 28 1932
MOV
I
335
MAKERS
Enter the Eight!
RUSSELL C. HOLSLAG, ACL
Marking a new step
in the development
of amateur movies
MOTION picture amateurs existed years
ago, even before the smaller sizes of cine
film were introduced. Such was their
enthusiasm for this responsive medium that these
amateurs, few in number but inspired with the
possibilities of the motion photograph, were per-
fectly willing to work with the bulky apparatus
and heavy accessories that were then necessary to
get results with the 35mm. or standard width film. To shoot enough film for the stand-
ard projection reel of one thousand feet meant changing the two hundred foot maga-
zines in the camera eight times. Then, when all was ready for projection, the splicing
and cutting having been completed, the full thousand foot projection reel was found
to weigh about five pounds. There was also the heavy projector to haul forth and to
set up, not forgetting the care that had to be exercised with inflammable film.
What a strain on the hobbyist's endurance! Yet, for a few, of which the writer
was one, the enthusiasm still remained in spite of bulk, weight, expense and more
expense. So great is the fascination of the motion picture.
Then came the sixteen millimeter film. The nine and one half millimeter width
was popular in Europe, too. What a merciful reduction in bulk and in weight, both
actual and on the pocketbook! With 16mm. film, a four hundred foot projection unit,
with its reel, weighed about sixteen ounces and the camera unit had shrunk to the
hundred foot, daylight loading spool, which actually provided a fifty percent longer
shooting time than the two hundred foot magazine of the 35mm. camera.
The first examples of 16mm. spring driven movie cameras made their bow; one
of them was sponsored by a great photographic research and industrial concern, the
Eastman Kodak Company, always among the first to blaze new and interesting photo-
graphic paths. These trails the first struggling movie makers had marked out; trails
that were destined through this development to be widened to a well marked highway
whose direction is easy to follow. Spring driven! Actually, one could hold a movie
camera in his hand and take pictures! The old line shook its head in concern. What,
no heavy tripod to steady the picture? 16mm. was foredoomed to failure.
Yet, in spite of the fact that cameras may wobble in careless hands, it did not
fail but waxed strong and lived. Making the taking of motion pictures relatively easy,
it opened up a new field, freeing the camera from earth, as it were. And we who know
and respect sixteen have seen it continue to grow steadily. Through the formative years
it has come; first in recording strictly "home" subjects, then widening out into more
purposeful fields, such as the industrial, the educational, the scientific. Thoughtful
groups of amateur filmers have been formed and have produced motion pictures freed
from the restraints of commercialism; these have expanded the cultural possibilities
of the medium and have developed it as an art and as a language.
So much for sixteen. It has arrived at a stage at which it has fairly outgrown its
original application. Modern 16mm. projectors, with their superpower lamps and pro-
fessional refinements, have made possible the exhibition of these films to surprisingly
large audiences. Sixteen millimeter started in the home but has grown into the audi-
torium. It has taken unto itself prerogatives not more important, perhaps, but different
from those it had originally.
And now — enter the Eight. Here is a new and profoundly considered development
which is made exclusively for the home movie field. Eight — the numeral refers to the
width of the film, which is essentially sixteen millimeter cut in half but, more than
that, constitutes a new film, embodying ideas not developed before.
Again the Eastman Kodak Company is a pioneer; indeed, it is most appropriate
that the creator of 16mm. film, that made possible the widespread amateur field with
which this film is associated, should sponsor the Eight. Let us briefly consider some
of the basic features of this new development; further technical details will be found
in our News of the Industry department, Page 352. The camera is much more than
a miniature edition of its big brother, the 16mm. Cine-Kodak. The "8" is really a
beautifully made instrument having its own exclusive design. Howbeit, it is unusually
small and compact, both because of the unit spools of small diameter and because
of its original form of construction. By an ingenious paradox, the Eight is not "eight"
while film is being loaded in the camera, or during shooting. Its contents are pur-
chased in the form of sixteen millimeter film which comes on a twenty five foot,
daylight loading spool, approximately two inches in diameter. This spool is placed
on the feed spindle in the new Cine-Kodaks. Threading is done in the normal way
and is "straight line" and without complication. When this is done, the camera is closed
and the film is ready for exposure for the first time. [Continued on page 356]
A shot like this
will establish the
airport as locale
i
NOW that air travel is no longer a novelty, many vaca-
tionists will have occasion to ride the highways of the
sky this summer. Naturally, they will expect to keep a
record of their experiences, not necessarily because they are
unusual but because they will be remembered with enjoyment
later. What can be done with an ordinary 16mm. camera on
a plane journey? Bearing in mind, as always, that photog-
raphy should record feelings rather than facts or, rather,
facts only in so far as they illustrate or create feelings, we
shall not be tempted to waste much footage on scenes that
could as well be part of a land trip, since they would fail to
produce suitable emotions. For example, a view of a plane
rising from the field is a common sight; therefore, it has no
value in an air scenic except to explain something else,
perhaps to establish the airport's locale. Unity of concep-
tion, telling the whole story from the point of view of the one
who is going aloft, is necessary to make the reel effective.
What do we think and feel as we step into the ship, as we
take off, as we view the old home town from an altitude of
3,000 feet, as we ride over a range of mountains, as we pass
a lake where we often cast for bass, as we balance a cup of
coffee in our hands at lunch time, as we ride above the clouds,
as we first glimpse the lights of a strange city? The picture
is there and nowhere else.
To one who has never been up, a condition that makes it
easier to be aware of one's own feelings, the first sight of the
plane as it stands being "revved up" will arouse emotions of
concern about the safety of the trip. To convey this feeling
to the audience, the amateur will inspect the plane from every
angle with his camera, look at the wings, at the motor and at
the struts. He will stand in front and embrace in one view all
three motors, if it is that type ef plane. He will run his hands
over the stout corrugations of the body; he will appraise
the cushioning effect of the huge tires. If he remembers to
take this kind of views, from a very low angle to produce
proportionately larger
size, he will start with a
hundred feet or so of
unusual and impressive
material which, later,
will enable the specta-
tors to share his feeling
of excited anticipation.
Things
amateur
the flying
should do
A *
%■'■
Zoltan Herczeg-h, courtesy American Annual Of Photography
for best results
His second look may be at the degree of comfort to be
attained on the trip. He will peep through the open door and
note the light weight armchairs. He will notice the baggage
compartment and the stowing away of the handbags. He will
realize for the first time that the pilot's cabin is separated
from the passengers' compartment and that there is no more
chance of seeing ahead than in a railroad train. He may be
allowed to inspect the instrument board and wonder at its
complicated indicators. Camera in hand, he will have just
that many scenes.
Once in the car, he will look out and wonder how it is
going to feel when he begins to leave terra firma. Of course,
he will not attempt to thrust his camera through an open
window because of the air pressure which would make it
vibrate objectionably, even if it does not wrench the camera
from his hands, but he should be ready to hold the lens tightly
against the window pane, which is made of plate glass and
should not distort the picture, or just inside the open window,
resting on the window sill at a fixed angle. This offers an-
other chance for the cameraman to share his feelings if the
camera is held in a fixed position throughout and is perfectly
horizontal and at right angles to the line of flight so that the
blurring of the scene, as it whizzes by, will show very effec-
tively on the screen. This is one instance in which the per-
fection of photography consists in deliberately chosen imper-
fection, as in those studio shots in which the camera swiftly
swoops across a room to indicate that the other character is
also there at the same time. It will be better, of course, if
the passenger is seated on the side on which the city buildings
appear. As the ship is likely to turn around as it rises from
the airport, it might be well to ascertain from the pilot just
what his first movements will be.
Now the plane is up and the traveler begins to recognize
familiar scenes. But how different they look! With the
camera front barely resting on the window ledge, tilted at a
suitable angle, but steady, he begins to revisit his home town.
Of course, he knows better than to "panoram," since the plane
is already doing that for him, and there is enough vibration
in all flying without adding to it gratuitously. At most, he
might keep the camera pointed, by very low semicircular
motion, toward the spot where his home or factory is located
so that he can point it out to friends later when he projects
the picture for the home audience. [Continued on page 355]
336
PAUL D. HUGON
Plane filming
Reeling while they ride 'em
337
HOMER HILTON
THE most enjoyable of home movies are those which
include action, excitement and something new. No sub-
ject so easily qualifies on all these points as does a rodeo.
The colorful atmosphere which prevails, the unusual costumes
that are seen, as well as the thrilling contests themselves, offer
entertainment sufficiently different from any other to make
the performance eminently worth while for the cine record.
A rodeo is a presentation of the contests and sports of the
Far West which were popularized years ago by cowboys and
Indians. They were held at the roundups, when all ranchmen
gathered semiannually at designated points to claim the
cattle that had been grazing at large. Finally, the champions
of all roundups were invited to Pendleton, Oregon, to com-
pete in a great national championship which was staged so
successfully that the event became an annual affair.
The rodeo readily lends itself to amateur movie making,
because each event is usually run separately and it is possible
to record almost every occurrence. Also, as they are held in
outdoor arenas, lighting facilities are natural and apertures
can easily be adjusted correctly to obtain the best of photo-
graphic results. In such cases as indoor shows, as in Madison
Square Garden, the Stock Pavilion in Omaha, Ft. Worth
and other western cities, the lighting is so effectively arranged
that good photographic conditions are the rule and not the
exception. In either case, however, the wise amateur will
always use a light meter to be certain of the correct aperture.
During the course of an outdoor show the sun changes its
position, storm clouds may appear, but more particularly, the
shadows from the grandstand may cast a valley of darkness
across the most active portion of the arena, hence the ex-
posure meter becomes a necessary accessory.
Frequently, amateurs use too long a telephoto lens because
of the distance intervening between the camera and the object
and this tendency should be checked. Most shots will be
made at a distance of less than fifty yards, while those which
start at a greater distance will usually end nearer the camera.
If all pictures are to be taken from the grandstand, choose a
lens not over two inches in focal length and you will be
certain to get all of the events with the greatest clarity, and
yet with a sufficient field to include adjacent objects which
may lend interest to the scene. So many rodeos have been
shot with a one inch lens with such excellent results that
one need not hesitate to use this equipment. If you have a
wing Galloway
Rodeos are full of
opportunity for the
alert camera lens
lens with a rating faster
than //3.5 it will serve
best, for often the show
will continue on until
late afternoon and a
faster lens will catch
some shots that other-
wise might be lost in the
gathering summer dusk. Supersensitive film will help.
Try, if possible, to take at least part of the picture from a
place where a tripod can be used. There is so much action
in a rodeo that there is a temptation to wave the camera,
resulting in jerky, wobbly screen images. Following a run-
ning horse with a camera held in the hands is not an easy
task. But with the aid of a tripod you may be sure of added
steadiness and definition. There will be need of closeups, so
take a telephoto lens with you. If you have a turret head
camera you are all set, but if you haven't one, carry an extra
lens or two in your case. There will be many costumes and
western characters, closeups of which will add variety to the
picture. A telephoto lens of not over four inches focal length
is ideal for this purpose, enabling you to get some pictures of
the contestants in their natural poses. Most rodeo people are
camera shy, so an effective closeup is possible only with a
telephoto lens.
Such a lens will be useful in recording steer roping, calf
tying or "bulldogging," for then the action of the cowman's
hands, showing the speed, strength and skill of such work,
may be caught. Slow motion of one of these shots will be most
effective as it will bring out every detail of the action.
When considering the use of a telephoto lens, don't over-
look the fact that, although action may start on the opposite
side of the arena, it may end directly in front of the camera.
Lens needs are covered if you have a turret head, because
one can easily and quickly change to a short focal length lens
when the occasion demands, but otherwise it is best to use
a two inch, or even a one inch, for the general run of pictures,
reserving the telephoto for closeups before or after the
program. When using a telephoto, remember the tripod.
By all means, use a filter if your lens equipment and light-
ing conditions will permit. There is much color in the cos-
tumes of cowboys, and of course the Indian blankets and
headdresses are full of it, with [Continued on page 357]
The action must be
centered for the
happiest results
^
■ ■ B
yj*f 1 |
/ l
/ HI 'si
/*/ 1 9
/ ' 1
* fl I
Doris Day, courtesy Eastern Steamship Lines, Inc.
Funnels and masts
make designs that
are worth filming
I AM a school teacher and my hobby is amateur movies. This is not so much
of an economic contradiction as some of my friends have pointed out to me,
because I have no other hobbies; I have no motor car, do not play golf,
collect nothing and — lacking a wife — I have avoided the fascinating experiment
of two living more expensively than one.
Having been born without imagination, but with a liking for order and
regularity, I have passed into the age of discretion and have been there long
enough to learn to salt the commonplace with a little of what, for me, passes for
adventure. Each vacation provides the year with this seasoning and each
vacation is carefully planned to provide it. A carping fellow pedagog tells me
that the planning takes all possible joy out of the unexpected and I must
admit that he comes back each autumn with an incredible tan, an empty purse
and a look in his eyes that is reminiscent of memories quite probably incom-
patible with his profession. But in spite of all that, I feel safer with a camera
for a vacation companion.
This year, with my movie camera — an inexpensive universal focus affair- —
and four hundred feet of film that represented three sessions of grand opera
missed, a new reference book not bought but read in the library of my school
at night, several evenings of bathtub laundering and eliminating dessert for a
month, I took the night boat to Boston.
Being without imagination, I cadged about a bit among the faculty for a
leit motif upon which to build my vacation film. The psychology man, who
always struck me as a pretentious ass anyway, but who invariably has some new
theory about why people do things, suggested a study of the mating habits of
vacationists, which seemed to me low in the first place and intolerably inquisitive
in the second. An English Lit. instructor went all aflame at the idea of Boston
and proposed the homes of the poets but failed to see why the lack of cinema-
tography would spoil his suggestion. The Physics Department was quite certain
that boat machinery would make a film that would have "some meat in it" and
airily suggested that I get a fast lens and scrap my "pan" film in favor of
supersensitive. At last, I stopped asking and firmly decided that my film would
be merely A Trip To Boston. It was, after all, to be my vacation.
The best thing about the upper deck of a boat, that permits all classes of
passengers on its upper deck, is that you can film nearly everything that you
want to get in the picture. If you keep clear of funnels, smoke drift and fluttery
passengers, the horizon is yours. The Boston night boat hooks around the end
of Manhattan Island in full daylight in summer and, before it leaves the East
River, you can have shot six hundred feet of film, if you are so minded, as I was
not. My precious film was destined to cover a lot of territory.
With my safe and sane diary sequence scheme, I planned and conserved and
debated and saved. I omitted all dock scenes because they can be picked up any
time from a ferry boat. One long shot down the Hudson River toward the Statue
of Liberty gave the setting for the rest, after which it was necessary only to pick
and choose the best lighting for the rich variety of filmable things, which in this
case, included a tugboat with smoke wreath, a fireboat in action (someone's
poison was my meat), and an ocean liner manoeuvering into midstream. The
ferry boat would have given me these, too, but not always with the excellent
lighting of this time of day and year.
The real filmer's gold mine was struck on the east side of Manhattan, where
one seldom goes, except on the "round the Island" boat that is always too
crowded for adequate filming. It takes no special equipment to get the unusual
angle shots passing under the bridges and the panorama of the city, with water
traffic giving motion to the foreground. In the upper river, were some racing
shells with crews at really vigorous practice and excursion boats, crowded to
the rails, passed near enough for the kind of shot you can never get from the
shore. Each island and point of land offered novel viewpoints.
By the time the light petered out, I had one full hundred foot roll to my
credit. Immediately, being, as I said, of
an orderly turn of mind, I sat down com-
fortably in the writing room and began
editing and titling in advance. Uncompro-
misingly at the top of the page was A Trip
To Boston. The leit motif was my own.
Like Moliere's Bourgeois Gentilhomme,
I manoeuvred [Continued on page 356]
A floating camera
finds some unusual
coastwise scenes
ANDREW WALSH
The night boat
338
339
Greece moves west
ARTHUR L GALE, ACL
"Id
world concourse
calls amateurs to
THE Tenth Olympiad, to be held in
Los Angeles from July 30 to August
14, will be a summer mecca for ama-
teur movie makers all over the country.
Since, long before the days of supersensi-
tive film and efficient photoflood lamps, LOS AllPeleS locale
the struggling professional motion picture
companies selected Southern California as
the site offering the best photographic conditions, amateur photographers can
well congratulate themselves upon the location of this year's Olympic Games.
Brilliant sunshine until late in the afternoon is as certain as weather can be,
permitting the use of 4X filters and an exposure of //8.
The schedule of events presents the whole range of sports filming opportu-
nities. It includes boxing, fencing, gymnastics, rowing, swimming, yachting and
a pentathlon, to cite a few. Most of the events are to be held at the Olympic
stadium but others will be held at the Long Beach Marine Stadium, the State
Armory and the Rose Bowl. Variation in the setting of the sports will mean
opportunity for the amateur cameraman to get different angles and different
backgrounds which will more adequately express the vast whole.
On the other hand, as in the case of all stadium events, very probably the
cameraman will be restricted to but one filming position — his seat in the grand-
stand. Because of the vast throngs that will attend the games, there will be less
chance than ordinarily to make use of a variety of different viewpoints. In order
to get a dramatic film record of this most dramatic of all sports occasions, the
amateur movie maker will have to substitute his own ingenuity and equipment
for freedom of motion. Closeups, near shots and medium shots will have to be
obtained by telephoto lenses. Quick and careful selection of the most cinematic
action will have to serve in place of variety gained through different camera
positions. Filter effects and a considered choice of composition, secured by
manoeuvring elements in the immediate foreground, must be depended upon to
add beauty and cinematic interest, rather than unusual angles. Of course, to the
very fortunate movie maker who is not restricted to a seat in the stadium, all of
these considerations are but useful additions to other possibilities rather than
all important substitutions for freedom of action.
Unless one is seeking a comprehensive film record of a particular sport, it
would be fruitless and impractical to shoot every moment of a given event. Selec-
tion of what will make the best screen material is, therefore, the all important
consideration. This will not be so easy because practically everything will have
motion picture merit. However, it is necessary to make a choice of the bewilder-
ing range of material offered.
In filming the races, either track or swimming events, one will, of course,
be sure of getting the start. If. during the line up, near shots of the athletes can
be obtained by a telephoto lens, so much the better. Then, if the race is a 60
meter, 100 meter or even 200 meter run, it probably will be possible to follow
the course by a slow steady panorama. The 200 meter race, running approxi-
mately twenty two seconds, would make a rather long continuous scene, but
the excitement would carry it. In longer runs, the start, a few shots of the
runners in action and the finish would make the best sequence. This same treat-
ment would be the working basis in filming the bicycle race.
Since field events need a relatively limited range of terrain and since there
are pauses between the performance of each athlete, they allow more varied
camera treatment than the races. In the running high jump, for instance, be-
tween jumps, it would be possible to shift to a telephoto lens to get a near shot
of the next athlete before he starts. Slow motion studies of prominent trackmen
would be possible and, in the case of the field of action being even more re-
stricted, such as the standing broad jump or standing high jump, these would
be particularly easy to get. Perhaps few slow motion studies are more effective
than those of pole vaulting. In planning them, it would be well to ignore the
running start and to train the camera on the area likely to be covered by the
vault itself. Nothing is more fascinating than this apparent human levitation.
Equestrian sports will provide many fine filming opportunities. Slow motion
studies of the jumping finals will be important additions to any sports film
library. Boxing, wrestling and weight lifting competitions will be held in the
Olympic Auditorium and supersensitive film will be required to get sequences
of these events. Of these sports, weight lifting has [Continued on page 358]
Selection of vital
moments of even ts
means film success
Wide Work
The clinic
RUSSELL C. HOLSLAG, ACL
Floods and flares ■ An alarming title this, perhaps, yet
what amateur does not wish floods of
light for his night movies? "Flares" does not refer to that
mysterious, ghostly effect inadvertently caused by allowing
direct light rays to shine on the lens, but rather to that handy
means for producing a flood of light outdoors, the chemical
flare. But first let us discuss the possibilities of the incan-
descent bulb for outdoor work; rather an unusual light source
in such an environment but effective nevertheless, if the con-
ditions are correct. "All outdoors" is a big place, and a
Photoflood or other incandescent bulb will not be so efficient
here as when used indoors, surrounded by light reflecting
walls. Nevertheless, when the light is concentrated on close-
ups, as is shown in the illustration, the effect is very fine. It
goes without saying that one must be within the distance
bounded by an extension cord from a 110 volt, lighting circuit
outlet. One Photoflood bulb, in a good reflector, is sufficient
for outdoor closeups with superspeed film and an //3.5 lens
wide open. ■ For large groups, such as those that look so
jolly gathered around the campfire, the flare is advisable.
These come in one half to five minute lengths and, when
ignited by means of a fuse, burn with a brilliant, actinic light.
The shorter lengths are perfectly satisfactory for home
movies. The flare need not, and should not, be placed close
to the subject it is to illuminate. Its direct light should not
be allowed to fall on the lens but may be concealed therefrom,
and at the same time reflected, by backing the flare with a
piece of plaster board. The flare will give adequate exposure
to all objects included within a ten to fifteen foot circle with
the light as center, with normal film and the lens at //3.5.
Larger areas may be recorded by using superspeed film and
a fast lens. See that the wind is blowing in such a direction
that the smoke from the burning flare will not drift in front
of the lens. Flares cannot be used indoors.
Filters for Super ■ Everyone knows that supersensitive
panchromatic is especially sensitive
to red. Whereas, with other former emulsions, filters were
used to hold the blue back so as to give the red a chance to
affect the film, this is not now necessary with the "super" film,
because its emulsion is slightly more sensitive to red than to
blue. And, to this extent, the film is actually self filtering.
Blue subtractive filters are yellow, amber or red in color but.
Technical comment
and timely topics
for the amateur
since these are not pre-
cisely what is needed in
the case of superpan-
chromatic emulsion, the
green filters have been
developed. These filters
hold back a certain pro-
portion of both blue and
red, hence allow the weaker shades of green a chance to
act on the film, giving very pleasant and natural results on
such subjects as landscapes, where this color predominates.
High perch ■ Inspired by an article in last month's
Movie Makers, which set forth the possi-
bilities for securing good technical results in filming parades
and pageants, Kenneth V. Bloomer, ACL, decided that best
results were to be had from an elevated point of view. Ac-
cordingly, he enlisted the services of the local power company
and persuaded it to lend him one of its extension ladder
trucks, used ordinarily for servicing overhead power lines and
the like. Clamping his tripod legs tightly to the floor of its
movable platform, Mr. Bloomer states that he was able to
secure some excellent shots of local Bicentennial celebrations
from this unrestricted point of view. Hollywood may have
its camera cranes, but a bona fide cine amateur has produced
a satisfactory substitute.
Reflector ■ Reflectors made of stiff white cardboard or
other non bending material are bulky, incon-
venient things to carry around. Results just as satisfactory
may be obtained with a piece of white oilcloth having small
sticks tacked to two parallel edges. When not in use the oil-
cloth may be rolled up on one of the sticks and occupies
minimum space. When in use, the sticks act as supports to
hold up the reflector. Or, if a screw eye is turned into the
center of one. it may be hung on a hook or nail or can be
suspended from a tripod head. — H. E. Richardson, ACL.
Eclipse notes I The interest in the coming eclipse, which
is now just thirty one days away, has
been greatly increased since the subject was discussed in
Movie Makers latest issue. J. V. D. Bucher. ACL. writes in
to caution amateurs against gazing [Continued on page 358]
R. I. Nesmith and Associates
Photofloods make
cinematic triumphs
of campfire scenes
340
341
Nature provides the
beauty but leaves
you the continuity
IF you are down at the shore and stroll out on the sands
to be awed by the majestic vastness of the ocean, don't
get the idea that what you see is going to look the same
on the screen. The eye makes allowances while the camera
is exact. Unless the viewpoint is carefully selected to get
less than the usual amount of skyline, the chances are that
the resulting scene will be a band of water and a band of sky
equally divided. Pointing the camera slightly downward will
give more water and a foreground object will provide a
pleasant composition.
If the seashore scenic is to be made on a rocky coast,
then you are doubly fortunate, for the rock formations offer
good foregrounds and the waves piling over them make cine-
matic patterns. The best time to make the film is after a
stiff blow inshore, with the waves rolling in with greater
force than usual. Closeups are very attractive, but be care-
ful to protect the lens from the salt spray.
On a sandy shore, the effect is less pictorial unless the
beach is broken up by jetties, but with big waves, one can
get good results. It will help materially if the waves break
over an upturned boat. To offset these scenes, get some pic-
tures of the sea in a quiet mood. Closeups of the shallow
surf running over the sand yield nice patterns for this part
of the reel.
If the cameraman is vacationing on a sound or near a
harbor, shadow effects and silhouettes of sail boats against
the sun may be obtained. Boats tacking in the breeze offer
changing light effects on the canvas, which becomes trans-
lucent gauze when the sun is behind the boat; long shadow
patterns are offered when the light comes from one side.
Such shots as these can be edited into a seashore scenic
with titles furnishing a simple continuity. With a little
thought, one can build up a very dramatic film, splicing in
first the shots of calm pleasant days and incidental beach
activities, building up to a windy day and an angry ocean
and ending with a return to calm, symbolized by a peaceful
sky and sailboats in the bay.
But with most movie makers, human action is the main
objective. Naturally children make the best subjects and
one can film them playing on the beach with tiny shovels,
building curious structures with wet sand or romping in the
surf. Such scenes are attractive with straight treatment, but
little stories always make them a bit more interesting. For
Ewing: Galloway
The camera at the
beach will find a
wealth of material
example, the children
build a mighty fort and
then race away. When
they come back, the sea
has leveled their struc-
ture. After a scene of
their consternation
would come shots of the
building of an even larger sand castle and another tragedy.
A slightly more elaborate plot is the one based on buried
treasure which may turn out to be ice cream or the picnic
watermelon. One clever amateur, varying the plot, showed
two youngsters in bathing, finding a map to buried treasure,
which they eventually located among the rocks. When they
finally secured the case, in which the treasure was hidden,
it slipped out of their grasp into the sea. Repeated diving
failed to locate it.
Beach comedies for adults can be worked on the spur
of the moment as the surroundings suggest. For example,
there is the beach umbrella which is blown away to reveal
a flirtation or, perhaps, the character old maid when the pretty
girl is expected. If you use the umbrella idea, make sure
that it will roll away at the proper moment by carrying
along a spool of thread which is to be attached to the tip
of the rod.
Another hoary old timer is the greenhorn family that
comes to pitch camp on the beach. They pick out nice hard
sand for tenting space and when the tide comes in, they
are all afloat. This means starting at low tide and waiting
until high tide for the final effect. Another good comedy
idea was used by Mr. and Mrs. Sidney Drew in the Vitagraph
days. They played a honeymoon couple, the bride being
sickly sentimental. The finish showed Drew marching into
the water, in his clothes, and keeping on until he was com-
pletely submerged. Get someone who can swim under water
and keep shooting at the place where he disappeared for at
least ten seconds before fading. Another and simpler idea
is ducking a masher who has been annoying a girl bather.
He makes a nuisance of himself. The boy friend comes in
and the pest gets a ducking in the surf. Any suggestion of
a man in the water, in his street or beach clothes, is certain
to get laughs, the more incongruous the costume the better.
For a more serious effort, per- [Continued on page 359]
EPES W. SARGENT
Seashore stunts
courtesy Bell & Hewell
California campus
group in collegiate
film at Los Angeles
A new idea ■ Basing their regulations on the essential
message of Try This, the editorial in May
Movie Makers, the Boston Cinamateur Club goes into the
summer busily engaged in a club filming contest which will
conclude during the first week of November. Actual restric-
tions are slight. In place of them, emphasis has been laid on
the originality of thought and treatment and on the logical
completion through cinematic means of a worthy and definite
idea. Awards will be in the form of film leaders, bearing the
name of the winner, the name of the contest and the date, a
commendable practice, in direct line with the "blue ribbon"
awards of other hobbies, which serves to stress the honor
rather than the monetary gain of winning.
Recent programs of this active group have featured a dem-
onstration of sound motion pictures by J. J. Sullivan; a talk,
Portraiture In Motion, by Albert S. Genaske; the screening
of Germany, Paris, Holland And London, by George Lack-
shewitz; Confirmation Of His Nephew, by Joseph Barron,
ACL; Winter Sports, by Mr. Genaske; Submarine Trips,
through the courtesy of Lieutenant W. L. Ware, U. S. N.,
ACL, Annapolis, Md.
Bergen COUnty ■ At Englewood, N. J., fifteen enthusi-
astic cameramen have organized the
Bergen County Cine Club under the leadership of Mark A.
Borgatta, temporary chairman. Lloyd Hughes, H. J. Man-
thorne, P. F. Capaldo and John H. Wood, ACL, have been
working on a charter and constitution for the club, details
of which will be reported in a coming number of Movie
Makers. At the organization meeting the new society was
addressed by Dr. Clarence W. Winchell, ACL, and William
J. Shannon, ACL, officers of the adjacent Hudson County Cine
Club. Interested movie makers can get in touch with the
club by writing it care of the League's Club Department.
A new drama ■ Re-
ward, the latest pro-
duction of the Greater
Oakland Motion Picture
Club, was given a high-
ly successful premiere
screening at the Fox-
Morgan studios, 16 mm.
Latest news of
group activities
and photoplays
theatre of club member Elton Fox, ACL. Running 700 ft.,
16 mm., the picture tells a dramatic story of a young crook
who, while planning with older pals for a daring bank rob-
bery, is won to the straight and narrow by the pure love of
the heroine. His confederates will not let him quit and force
him to lead the job, only to attempt a double cross at the
critical moment. But the hero is not as dead as they think,
and gets them in turn, to win the reward and the confident
love of his sweetheart. Leading parts were played by Doro-
thy Carew, Walter Gardner, Edwin Rosenberg, ACL, Howard
Saxon and Pop Hanson while the supporting cast was filled
almost entirely from the club membership. The production
was directed by Mr. Fox, photographed by Bill Latimer, ACL,
and Frank Tiscornia, ACL, edited by the three of them, cast
by Bill Jones, ACL, with a sound arrangement by Gene
Ritzmann and Jay Brewster. A print of Reward has been
generously promised to the Club Library of the League for
the use of other clubs and will be announced as available in
a coming issue. In Camera Action, the club's official news
letter, interesting reviews of professional films, from the point
of view of the amateur cameraman, are being run by Mr.
Rosenberg in a column called The Criterion.
Adaptation ■ ^he Movie Makers of Grand Rapids are
actively engaged in the production of their
first photoplay, as yet unnamed, which will run from one to
two reels, 16 mm. The story, which was cleverly adapted
from a Sunday comic strip — always a mine of vivid script
material — has been carefully scenarized by Wendell L. Pat-
ton, ACL, and will be played by Jane Sliter, Charles S.
Leonard, Sidney Straight and Harvey Kimerley. The tech-
nical staff lists Mr. Patton, photography; Helen Osband,
direction; Mrs. Margaret Leonard, properties; Mrs. Norma
J. Patton, script clerk; Mrs. Amelia Rosenburg, wardrobe;
A. V. Hoffman, makeup; Clarence Kimerley, art direction;
Gehardus Lindemulder, electrician; Charles Leonard, loca-
tions; Dr. Torrance Reed, stills. Local newspapers are giving
the club's production attractive publicity during its progress.
Scientific ■ Cinemicrography was the featured subject
at a recent meeting of the Portland Cine
Club, in Oregon, as Allen C. Woolley, ACL, discussed and
demonstrated a simple apparatus [Continued on page 365]
JAMES W. MOORE, ACL
342
Amateur clubs
343
Mountain madness
PORTER VARNEY, ACL
CINE photography and the out of doors are naturally twin interests and the
closeness of their relationship becomes especially obvious to an amateur
movie maker spending his vacation in the mountains. It was recently
impressed on the writer's mind by a filming trip through Colorado and adjoining
states. The combination of camera and mountains can be most highly recom-
mended to any cine enthusiast who loves the out of doors. Possibly those who
have not yet taken to the mountains would be interested in an observation on
modes of travel. The hardier souls may try hiking and back packing cross
country, carrying all the necessities of life plus photographic equipment, but
the average individual will prefer the less energetic modern method of motor
camping. The latter, while possessing some disadvantages, allows a fuller range
of equipment and the vastly interesting one day hikes from base camps by the
highway are the more pleasant for having only cine equipment to carry.
In planning the movie, first let us resolve not to drop the audience abruptly
into the middle of the story but lead up to it, possibly with an interior shot of
members of the party studying over maps to decide the route. Then would
come scenes of the duffle being stowed and the transition from home and city to
the wide open spaces. Next shoot the approach to a pass, framed by nearby
trees, possibly with a lake in the foreground and the road disappearing between
the hills of the first climb. Use a long shot up the valley with the distant road
switchbacking up the grade in the background, preferably with a car climbing
up to carry the eye and furnish action. With your "panning" tripod follow them
to the summit of the pass. Now that the panorama has been mentioned, heed a
word of warning; there will be a great temptation to "panoram" nearly every-
thing in order to get it in the picture, but try to stick as much as possible to a
series of individual shots instead. Even so, if one is not careful, he will find
many dizzy panoramas to be cut out.
Clouds are, of course, a never ending source of delightful material, whether
it be the low, misty, almost foggy kind sometimes found scudding along the ten
thousand foot level at evening or the bright, fluffy ones against a brilliant blue
sky. If these are low and moving rapidly before a stiff breeze, you can accentuate
the action by pointing the camera up through an opening in the trees. Remember
in all mountain work that the air is clear and the distances great, so don't neglect
the small stops, keeping in mind those sea shore pictures you "burned up" last
year. Photographic conditions in the mountains are often similar.
In mountain shooting, plan to use filters continuously. In the high, rare
atmosphere it will be easier to secure overexposure than underexposure, so that
stops of //8, //ll and //16 should be the rule. When shooting over long dis-
tances, as in making pictures of distant peaks with the clouds in motion, it is
well to choose a dense filter rather than a lighter one, for not only will the dense
filter emphasize the cloud movement but it will also help to cut through any
mist or haze that may be present. Of course, panchromatic film should be used
here, exclusively.
In some cases, where the distant subject to be recorded is far beyond the
"infinity" limit, as in a mountain peak four or five miles away, the use of the
dense, red G or A filters will be indicated. The G filter is not quite so dense as
the A, so that, for ordinary distant views of this nature in full sunlight, the
former should be used, while, if the amateur wishes to try his hand on very
distant subjects on a clear day, the use of the A filter is indicated. At any rate,
the mountain shooter should be equipped with a full complement of filters and
should take most of his shots with a filter before the lens. For ordinary shooting,
the 3X or 4X filter should be chosen as the best, all around aid, while the 2X
should be kept in reserve for those conditions under which a filter effect is
wanted where the light is not so bright.
The use of the denser filters is very well adapted to superspeed film because
the factors of these filters are reduced with the speed emulsion. Thus, the lens
need not be opened so wide to compensate
for the light absorbing properties of the
filter. The League technical department's
Filter Chart, which makes it easy to ascer-
tain the altered diaphragm stops when
using filters of any factor, will be sent to
League members on request. It will be
found useful. [Continued on page 359]
Filming altitudes
brings rich results
but calls for care
Pictures like this
are the reward of
detailed attention
courtesy Canadian National
^4ggpF9p
Practical films
344
Bu
siness, civic,
Reflections added
to surface details
increase interest
Frank H. Conant
medical, school,
and other uses
Business ■ T° show the Township of
Rochelle Park, N. J., how
1118,000 was expended in the construction
of a sewage treatment plant and to have a
permanent record of the job for his office,
Sherman A. MacGregory, ACL, shot more
than four thousand feet of 16 mm. film in
the completion of an exact and thorough
going industrial film. Every important stage in the construction is shown, from
the first official breaking of ground to the last turn of a valve as the new plant
went into service. A pleasant selection and variation of camera angles, pains-
taking care and attention to detail in the editing and smoothly phrased and
placed titles combine to make this film of definite interest to the layman as well
as the engineer. Mr. MacGregory, guiding the job as construction engineer for
Joseph L. Sigretto & Sons, the builders, was more than just cameraman and
often was compelled to miss a filming opportunity. But his camera went with
him every day for five months and getting just the right shot was always in mind.
Two other films, of one reel each, show the construction at Peekskill, N. Y., of
two bridges for the Westchester County Park Commission, while a third, run-
ning 1200 ft., 16 mm., records the building of a sewage plant for Rockville
Centre, on Long Island.
■ How News Is Given To The World is the title of a three hundred foot picture
showing the publishing of the Laingsburg Press, made under the direction of its
editor, F. W. Veith, ACL, in Laingsburg, Mich. Besides striking interior scenes,
as the film shows a daily paper in the process of creation, Mr. Veith has staged
a neat "accident" for the spot news rushed to the presses by tireless reporters.
H The unusual precision with which Hastings piston rings are manufactured
will be demonstrated to prospective purchasers by means of a two reel 16 mm.
film recently completed for the Hastings Manufacturing Company, Hastings,
Mich., by Wendell L. Patton, ACL, of Grand Rapids. A brief introduction to
the film indicates the sources of the materials used and leads directly into a
detailed study of manufacturing processes paralleled with the precision testing
given each step of the work.
B Tracing the history of brick making from early Roman days down through
English and American developments, The Story Of Brick, 2000 ft., 16 mm., is a
complete record of the manufacture of brick products at the plant of the I. L.
Stiles & Sons Brick Company, North Haven, Conn. Later reels show scenes at
the New York office, where samples of brick construction have been set up, and
the film concludes with studies of outstanding buildings where Stiles brick has
been used. The production was written and photographed by H. Clifton Wood-
ward, ACL, of Taunton, Mass., with the assistance of B. D. Andrews, Jr.
^Keeping The Cars Rolling is the title of a two reel 16 mm. film produced for
the Chicago Rapid Transit Company by Charles E. Keevil and Lester H.
Reichard, of the company's staff, according to a recent report from the Bell &
Howell Company in Chicago. The picture was originally planned to show
employees the company's methods of car maintenance: later developments in
the scenario have made it also a valuable adjunct in public relations work.
II Unusual cooperation was extended to the Gulf Fertilizer Company, of Tampa,
Fla., in the rounding out of their industrial film by the many companies which
serve them in making up their final product. Sources of ammonia phosphate,
a principal component of fertilizer, were supplied from the film of Barrett
Company of New York; the manufacturer of burlap bags in Calcutta was
pictured from the industrial of the Bemis Brothers Bag Company of Boston; the
production of muriate of potash from the brine of prehistoric lakes in California
was traced in excerpts from the film of the American Potash and Chemical
Company; the gathering of guano at the famous bird colonies off the coast of
Peru has been supplied in film by the Nitrate Agencies Company of New York.
With a view to using any one or more parts separately, the Gulf company's film
has been divided into four sections: A brief historical sketch of the company;
the gathering of component materials; fertilizers in [Continued on page 365]
Backgrounds of the
landscape call for
careful judgment
De Cou from Ewing Gallowa
HAVING decided that my summer was going to be
budgeted on the fifty two week plan, which can be
chosen from at will through my projector, I had no
difficulty in arranging for the constant factors in the plan,
namely, the camera, film and accessories. The variable fac-
tors of time and weather, however, I knew must await the
instant of exposure and, therefore, the //1.9 lens and variable
speeds with which the camera was equipped gave a feeling
of confidence that even unusual conditions of light could be
met adequately.
My earliest and generally unplanned excursions were
motor trips on which I flatly refused to make another foot
of film showing the old 'bus draped with a grinning lot of
"lens hogs." On the contrary, I caught a charming bit on my
first trip. This picture was in the deep shadow of a country
bridge, overhung with willows, and included a barefoot boy, a
watchful pup and a dipping fishing rod, all caught brilliantly
through the magic of a wide open (I almost said wide awake)
lens and superspeed film. After that shot, the reflected
images of some water grasses offered a waving pattern too
good to pass by so, stopping the lens down to about //8 to
compensate for direct reflection in the water, I threw in a
few pebbles to get some interesting ripples and shot about
five feet for luck. It is now one of the bright spots of my
collection and is good for innumerable repetitions through
the entire year of cinematic summer on the screen for which
I am preparing.
It was on such an excursion that we stopped to watch a
group of boys near the shore of a large lake. The boys were
paired off in canoes, one boy paddling and the other standing
in the bow, holding a cloth tipped pole. They were tilting and,
as they came together, there was much splashing, balancing
and ducking — a perfect action subject. Out came the camera
and the shot was made — only to come back to me later, pale
and washed out. I had neglected to change the aperture of the
lens from //8, which I had used quite properly on a previous
subject, to a more proper setting of //16, which the brilliant
light from the lake and sky made necessary. I now realize
that, had I used one of my higher camera speeds, I should
have had a much better exposure and, in this instance at least,
a much more interesting picture because the amusing bits of
action, occurring so rapidly, would have been more clearly
defined. Next time I'll know when to call this aid into play.
During the inevitable weekends at home, the camera was
called upon for what, in our family at least, is its prime
function. The daily tangle of children and pets, over the
lawn and through the garden, often necessitates quick action
if successful pictures are to be had. One group of children,
playing London Bridge, presented a nice problem. The lawn
is partially shaded with tall elms and surrounded by a hedge
of deep green shrubs. The wind was blowing and, from a
quick glance in the finder, it was evident that the high view-
point I had chosen would give me a picture of moving figures
and moving foliage shadows which would be too confusing to
be acceptable. By choosing a lower viewpoint, shooting from
a kneeling position, I was able to eliminate much of the tree
shadow on the ground and to have the figures of the children
moving gracefully against the dark border of shrubs. These
shrubs, because of their deep green color and because the sun
was shining nearly at right angles to the direction in which
I was shooting, provided a velvety black background. Against
this background the figures of the children could be regis-
tered in clear cut action. Using regular panchromatic film,
regular camera speed and a lens opening of //8, I recorded
this shot perfectly. The time was about 3 P. M. in late June.
Vacation pictures which I have made have run from water
and mountain scenes, which classify generally as "small
aperture" shots, to pictures made in the deep woods where
conditions vary enormously, depending on the density of the
growth, the direction of the light and the color of the foliage.
Here I found most use for my exposure meter and here, also,
I found the greatest difference between the correct exposure
as given by the meter and my own opinion as to what that
exposure should be. In one case, I sighted a lovely mountain
vista in the distance, framed in the foreground by a group of
trees and rocks, the whole being enlivened by a cloudy sky.
In this instance I made two shots, one with a 3X filter and
lens opening of //8, the other without filter at the same aper-
ture, having noted that
the trees in the fore-
ground were rather well
lighted by direct sun-
light. The first, the filter
picture, appeared with
the mountain vista clear-
[Continued on page 358]
An amateur record
of vacation success
and a few failures
CHARLES EASTWOOD
Hits and misses
345
346
AUCUST 1932
Cfhw Cine-Kodak a/
juastman Announces Cine-Kodak Eight — for
Those Who Want Movie Making at the Least Possible Cost. . .
Makes Every Foot of Film Go Four Times as Far. . . Saves
Nearly Two-thirds in Film Cost.
A his is welcome news for those
who want to share the thrills of movie making,
but who feel they cannot afford the special fea-
tures of 16 mm. equipment.
EASTMAN has developed a new
film-saving principle and the
equipment that puts it to use. The
new camera — Cine-Kodak Eight — gets
four images in the space of one. With
this ingenious instrument $6 worth of
movies cost only $2.25.
How Cine-Kodak Eight Saves Film
Cine-Kodak Eight loads with a
25-foot roll of special 16 mm. film.
But it exposes only half the width of
the film at a time. When the 2 5 feet is
run through, you reverse the spool and
Carrying nanUCt aucljA ll-vision, eye-level finder
are combined in one unit on Cine-Kodak Eight.
One movement and both elements of the finder
snap into position.
expose the other half. Each image is
about half as wide and half as high as
that made by the larger Cine-Kodak.
You get four images in the space of
one. On that 25-foot roll you record
the equivalent of 1 00 feet.
When your exposed film reaches the
Eastman processing stations it is
processed, slit down the middle,
spliced end-to-end and returned to
you as a 50-foot reel, 8 mm. wide . . .
ready to project with a Kodascope
Eight.
Cine-Kodak Eight Panchromatic
Film comes in a 25-foot roll costing
only $2.25 ... a small roll that makes
an ample supply easy to carry in your
pocket. It has an extremely fine-
grained, "Pan" emulsion that assures
clear, sparkling pictures despite great
magnification. Black coating on the
back of the film prevents halation.
Cine-Kodak Eight Fits Coat Pocket
Cine-Kodak Eight is so small and
light it can be carried in men's coat
pockets ... in women's handbags. Yet
its diminutive size in no way handi-
caps its picture-making ability. There's
a Kodak Anastigmat /I3. 5 lens . . .
built-in exposure guide . . . self-setting
Kodascope Eight, Model 20, for 60-cycle, A.C.
lines. This model costs only $22.50 yet it shows
clear, brilliant movies of satisfactory size.
footage indicator . .
And the cost is only
eye-level finder.
Kodascope Eights from $22.50
Two Kodascope Eights have been
designed for the projection of these
8 mm. movies. Kodascope Eight,
Model 20, costs but $22.50 complete.
Kodascope Eight, Model 60, may be
had for only $75.
Kodascope Eight, Model 20, is truly
the simplest motor-driven home movie
projector. Lamp and motor are con-
trolled by a single switch. Threading,
projecting and rewinding are amaz-
ingly easy, convenient. It projects 200
feet of 8 mm. film at a single showing
. . . lasting over 16 minutes on the
screen. Its small, compact size per-
mits easy carrying.
Kodascope Eight, Model 60, has
equal ease of operation, equal film
capacity ... a high-speed automatic
rewind that eliminates the need for
MOVIE MAKERS
347
>9 so cuts film cost
ing belts or reels after projection
o-volt, i oo-watt prefocused base
projection lamp with decentered fila-
ment for maximum illumination. A
bridge or table lamp, plugged into the
switch receptacle, is automatically
turned on when the Kodascope is
turned off. By moving a lever, pro-
jection may be stopped for showing a
"still" picture. Model 60 has a i-inch
projection lens of special design for
maximum screen brilliance.
Dealers Are Ready To Show You
There's a Cine-Kodak dealer near
you who will gladly tell you just what
the Cine-Kodak Eight means to movie
makers. You can examine the equip-
ment . . . See some of the movies it
makes and shows.
Cine-Kodak Eight is so small and light you can
slip it into your coat pocket.
ope Eight, Model 60, has many refine-
found only on projectors priced much
For Go-cycle, A.C. lines, costs but #75
'ng carrying case.
YOU PAY NO TAX. The government has placed a ten per cent tax on cameras
and on other articles that you use in your leisure hours. But as all outdoors invites your
Cine-Kodak, this company is not going to have anything interfere with that invitation.
It is going to absorb the tax. There is no increase in the price you pay for any Eastman
camera. Eastman Kodak Company, Rochester, N. Y.
346
AUGUST 1932
cn«,^ n\n£ Vr^AcAjr ^
i
b
t
]
n<
fo
th
m
H
B.
th
ru
ar
One movement aria ootn elements oj we jinaer — ■ — *^» — .....u..6.I.»ty.;).j rem •— a . tuj/umj . . . a^iigii-jjjccu auiuiuaut
snap into position. built-in exposure guide ... self-setting rewind that eliminates the need for
AUGUST 1932
MOVIE MAKERS
9kw Cine-Kodak «/ $29 5° cuts film cost
iLastman Announces Cine -Kodak Eight — for
Those Who Want Movie Making at the Least Possible Cost. , .
Makes Every Foot of Film Go Four Times as Far. . . Saves
Nearly Tivo-thirds in Film Cost.
J. his is welcome news for those
who want to share the thrills of movie making,
but who feel they cannot afford the special fea-
tures of 16 mm. equipment.
EASTMAN has developed a new
film-saving principle and the
equipment that puts it to use. The
new camera — Cine-Kodak Eight — gets
four images in the space of one. With
this ingenious instrument $6 worth of
movies cost only $2.25.
Hoif Cine-Kodak Eight Saves Film
Cine-Kodak Eight loads with a
25-foot roll of special 16 mm. film.
But it exposes only half the width of
the film at a time. When the 25 feet is
run through, you reverse the spool and
Carrymg oantttt .uulji. It-vision, eye-levelfinder
are combined in one //niton Cit/e-Kodak Eight.
One movement and both elements of the finder
snap into position.
expose the other half. Each image is
ahout half as wide and half as high as
that made by the larger Cine-Kodak.
You get four images in the space of
one. On that 25-foot roll you record
the equivalent of 100 feet.
When your exposed film reaches the
Eastman processing stations it is
processed, slit down the middle,
spliced end-to-end and returned to
you as a 50-foot reel, 8 mm. wide .
ready to project with a Kodascope
Eight. r
Cine-Kodak Eight Panchromatic
lilm comes in a 25-foot roll costing
only $2.25 ... a small roll that makes
an ample supply easy to carry in your
pocket It has an extremely fine-
grained, "Pan" emulsion that assures
clear, sparkling pictures despite great
magnification Black coating on the
back of the film prevents halation.
Cine-Kodak Eight Fits Coat Pocket
Cine-Kodak Eight is so small and
light it can be carried in men's coat
pockets . . . in women's handbags. Yet
its dimmutive size in no way handi-
TS Plct.Ure"makinS ability'There's
a Kodal Anastigmat /.3.5 iens . . .
built-.n exposure guide . . . self-setting
Kodascope Eight, Model 20, for 6o-cycle, A.C.
lines. This model costs only $22.50 yet it shows
clear, brilliant movies of satisfactory size.
footage indicator . . . eye-level finder.
And the cost is only $29.50.
Kodascope Eights from $22.50
Two Kodascope Eights have been
designed for the projection of these
8 mm. movies. Kodascope Eight,
Model 20, costs but $22.50 complete.
Kodascope Eight, Model 60, may De
had for only $75. . ,
Kodascope Eight, Model 20, is truly
the simplest motor-driven home mov
projector. Lamp and motor are co
trolled by a single switch. Threading,
projecting and rewinding are itti
ingly easy, convenient. It projects
feet of 8 mm. film at a single showiMS
. . . lasting over 16 minutes on
screen. Its small, compact size p
mits easy carrying. l„s
Kodascope Eight, Model 60, 1
equal ease of operation, e1uai „,:,
capacity ... a high-speed auto**
rewind that eliminates the nee
changing belts or reels after projection
... a 20-volt, 1 oo-watt prefocused base
projection lamp with decentered fila-
ment for maximum illumination. A
bridge or table lamp, plugged into the
switch receptacle, is automatically
turned on when the Kodascope is
turned off. By moving a lever, pro-
jection may be stopped for showing a
"still" picture. Model 60 has a i-inch
projection lens of special design for
maximum screen brilliance.
Dealers Are Ready To Show You
There's a Cine-Kodak dealer near
you who will gladly tell you just what
the Cine-Kodak Eight means to movie
makers. You can examine the equip-
ment ... See some of the movies it
makes and shows.
.mi, t' 5*** Model 6", has m""y refi"e-
Si '"""donly on projectors priced much
$&5; to-ncle, A.C. lines, costs but $75
"""d'"S carrying case.
~ VOTJ PAY NO TAX. The government has placed a ten per cent tax on cameras
and^o^des that you use in y<>ur leisure ^:^:: -™ £
SSSJS £3 TZl. ',£.« ££JS£ Price you pay for any Eastman
camera. &■«"»" K"dak Company, Rochester, N. Y.
And then I went home
KENNETH MARTIN
R
Showing that true
art flourishes only
with cooperation
^tu/A/M^//
//^0 T ! " said
George. "I want
to fish."
Now I have always
said that cooperation is
the essential factor in
the making of any good
film, and you may guess,
immediately, the handicap I had to work under in the produc-
tion of my second picture when I tell you that my brother
George uttered the unfriendly retort above, at the first mention
of taking motion pic-
tures. I had merely sug-
gested that he lie down
on his stomach on a
huge tree that blew
down during the night
and slowly and careful-
ly wriggle up the trunk,
while I took a picture of
him from a small tree
directly above, pointing
the camera straight
down. And before 1 could
persuade him in any way
(by mentioning "imper-
ishable record" or "no
need to trust to mem-
ory," for instance) he
disappeared down the
road with his fishing
pole. (His fishing all
day every time he comes
to the country is ridicu-
lous anyway; he never
catches anything.) The
Russells were already in
swimming. And I knew
that Sarah, my sister in
law, was far too arrogant and unobliging even to allow herself
to be filmed as the fair heroine, let alone as sprawling on a
tree trunk, even though I told her that, in projection, I could
make her seem to climb a tree with surprising agility.
I sat down with my camera, disconsolately. I had realized
that I was out in the country with some very stupid people
who wouldn't know the difference between a filter and a
tripod and to whom supersensitive would mean absolutely
nothing, but I had never dreamed of finding everyone so
unaccommodating as well as obtuse. Would I be reduced to
"panoraming"? I shuddered. What provincialism!
Then, remembering that the only limit to the new effects
one can achieve is in the imagination of the photographer
and that all objects can be transformed into art by a fresh
point of view, I determined to triumph over circumstances.
I looked about. There were the Russells diving. I imme-
diately decided to do something new in diving pictures. It was
sanguine to hope for anything like art, because Rose Russell
is fat and Ben Russell is lean and besides, although of course
they consider themselves expert divers, both sprawl all over
when they dive. It would be easy to obtain good sequences
by slow motion and telephoto closeups. Yet some other touch
was needed. Suddenly I remembered reading somewhere
that, if a lens of a pair of eye glasses were held before the
camera lens, new and even startling effects could always be
produced. So I secured grandfather's spectacles, which were
348
^h,^\
suitably thick, and immediately set to work. I realize, now,
that I made a slight mistake in the exposure and that prob-
ably I should have used my tripod. Sometimes, for instance,
it was difficult to be sure I had Rose entirely in the picture.
But the strange scenes I got could only have been produced
by a defective camera. But of that later.
After a while I grew bored and went over where my brother
was fishing. I found him all excited — he'd really caught a
fish. And it was a beauty. He was so proud that he asked
me to take a picture. You know how they like to be taken —
fish rod in one hand and fish in the other, gaping into the
camera. I careful-
ly explained that
it was a desecra-
tion of cinema art
to shoot pictures
that might be
taken with a still
camera. At last he
consented to an
action picture.
Everything went
well at first. In
order to obtain a
sequence, I shot
him casting into a
little pool with a
weeping willow
branch in the cor-
ner of the scene.
(I really do have
a fertile imagina-
tion for pictorial
composition.) I
cut and then he
put the fish back
on the hook and
threw it in. He
really did very
well, except that
he was so excited
he kept looking at
the camera and
asking me if he
were doing all
right, which made
me so impatient that once or twice I forgot to press the button.
But the sad part came at the climax of the picture when, after
a long struggle, he was to pull the fish out; he made a final
dramatic tug and, the fish evidently having become disen-
gaged during his elaborate motions, up came a stick with a
lot of moss.
I have learned from experience that nothing anyone may
say can help matters under such conditions. I gathered up
my camera and left at once.
On the way back, I saw Sarah eating a huge piece of water-
melon. Undoubtedly she had gone off to be alone, believing
it impossible to eat watermelon in front of other people with-
out a certain appearance of grossness. Always glad to be able
to use my natural aptitude for experimentation, I turned my
camera upside down and began to shoot her. A rather odd
thing happened at the end. A calf came up near her and, as
she finished eating, she offered the watermelon rind to it. The
calf licked it enthusiastically and then started nibbling.
When I told the Russells they [Continued on next page]
Unconscious actors in
un predicted situation
cause amazing results
MOVIE MAKERS
had figured in an important new experi-
mental film, they became very excited
and came over to see the picture the
same night it was returned from the
editing company. I was a little nervous
because George was still a little cold
and because I had inspected the film on
the rewind and it seemed a trifle capri-
cious and vacillating in spots. But I
never dreamed how it would screen.
Imagine the Russells waiting breath-
lessly to see their beautifully daring
dives, George rather anxiously wait-
ing to see himself casting with great
expertness (I had promised him not to
run the last of the scene) and Sarah
blissfully unaware of having personally
participated in the picture at all.
It is impossible to explain the film
that appeared on the screen that night.
As I have said, the camera was undoubt-
edly defective. First of all, the Russells
appeared very small and far away, haz-
ily going through rapid movements that
might just as well have been taken for
polo as swimming. Then, as George
said rather kindly, "Can't you make
them slower and a little clearer?" Ben
Russell wobbled across the screen, his
already lean body extraordinarily elon-
gated almost beyond recognition. This
phenomenon was so peculiar and inter-
esting that I lost consciousness of the
audience until I heard a gasp, and
looked up to see Rose following Ben
on the screen. Now Rose is a little over-
sensitive about her stoutness, but I can
scarcely blame her for her feeling about
that film. She was enlarged to twice
her natural girth and bulged very inap-
propriately. There was a dead silence
from the Russells as Rose capered in
an elephantine manner on the spring-
board, although George and Sarah tit-
tered a bit.
But, meanwhile, George appeared on
the screen in short jerky movements,
casting as if he had the St. Vitus and
grinning anxiously at us. Then the Rus-
sells began to titter. As for myself, I got
so interested in the extraordinary things
he was doing that I forgot to stop the
film, and there was George pulling up
the stick, jumping up and down, shak-
ing his fist and yelling some obviously
not very pleasant adjectives. The Rus-
sells were convulsed. Presently, a calf
came on the screen producing a water-
melon rind that Sarah appeared to be
coaxing for, and which she finally took
and ate without, it must be said, her
accustomed fastidiousness.
Suffice it to say that I took the sleeper
home that night. Since then, I have
taken my camera back to the store to be
carefully overhauled, although they ob-
stinately insisted nothing was the mat-
ter with it and were so rude as to give
me some insulting and quite unneces-
sary advice. But the pictures couldn't
have been great art that day anyway.
349
HUGO MEYER
ANNOUNCES
THE SELECTION OF HUGO MEYER
TRIOPLAN /:2.8
LENSES
AS STANDARD EQUIPMENT FOR
certain models of the
CAMERAS
The selection of Hugo Meyer lenses for Simplex
cameras represents a choice which indicates an ever
increasing trend towards better optical systems for
16mm. cameras. It is axiomatic that a chain is no
stronger than its weakest link and a camera no bet-
ter than its lens. In the combination effected by the
Simplex Camera with the Trioplan /:2.8, we can-
didly admit that a compact, well-made, and de-
servedly popular instrument finds its complement
in a lens eminently suited for exceptional work in
this field.
HlJG€ MEYER and CC
New York
Works: Coerlitz, Germany
News of the industry
Eight millimeter!
A new film and an entire new cine-
matic system to match have been
worked out, and are introduced this month, by the Eastman
Kodak Company of Rochester, N. Y. Of chief interest is the
fact that the new eight millimeter film and its accompanying
apparatus will lower the cost of home movies considerably,
since a unit roll of film under the new system will cost $2.25
and will give the equivalent of a 100 foot roll of 16mm. film
in screen time. This result is accomplished by a refinement
of the optical systems of camera and projector, whereby a
smaller frame or film picture is used; this frame is about
one quarter the area of the 16mm. frame and a consequent
reduction in size and price is thereby effected. So far, one
camera and two projectors have been developed. The camera
in particular is very small and compact. It is designed to
hold a twenty five foot spool of film which is 16mm. wide
but which bears double the number of perforations found in
the ordinary film. This film, on its daylight loading spool, is
threaded through the camera mechanism which, from the
illustration, will be seen as not appreciably different from
that of larger cameras. However, the intermittent mechanism
moves the film through a smaller distance in replacing each
picture, so that the individual frame is approximately 3V2
by 5mm. in dimensions. The same unexposed film is run
through the camera twice. The first operation exposes a row
of frames down one side of the film. It is then rethreaded
without rewinding and is thus ready for the exposure of its
second half. A special design of the spool and spindle mech-
anism prevents rethreading the film incorrectly. After the
final exposure the film is sent to the processing station where
it is reversed, slit down the middle, correctly spliced and
returned ready for projection as an eight millimeter film with
perforations on one edge only. Two projector models, made
by the parent company, are now ready to receive this film;
these are the Kodascopes, Model "Eight 20" and "Eight 60."
Both are designed for
projection results well
up to the highest stand-
ard already set by the
home motion picture.
The Kodascope Eight
20 is to sell for $22.50
and embodies a lens in
Answers the query,
"What's new?" for
amateur and dealer
slide focusing mount, a standard unit capacity of 200 feet,
8mm. and a specially designed lamphouse using a lamp and
incorporated transformer. Kodascope Eight 60 is a more
highly refined machine, carrying a specially brilliant opti-
cal system, projection lens of wide aperture in lever focusing
mount, high speed mechanical rewind, tilting device and air
cooled motor and transformer. This model, in bronze finish,
will be priced at $75 in the A.C. model, and at $85 for the
A.C. — D.C. adaptation. Its lamp is a special, decentered fila-
ment, 100 watt bulb. A complete line of accessories is being
developed, including 8mm. splicer, rewind, film cans and
reels, titling device and the like. A titling service will be
available and library subjects, the "Cinegraph Eights," are
also being prepared. The special film developed for 8mm.
work provides a screen image free from grain and completely
satisfactory in projection. It carries a backed, non halation,
panchromatic emulsion. For the present, 8mm. finished films
may not be duplicated but it is expected that this further
service will be worked out.
Weston ■ A new and definitive type of photoelectric cell
exposure meter makes its appearance this
month, sponsored by the Weston Electrical Instrument Com-
pany, of Newark, N. J. The Photronic light cell, originally
developed by this company, forms the basis for the new ex-
posure meter. It requires no battery in order to give a deflec-
tion of the meter needle. The case of the new Weston Univer-
sal Exposure Meter, Model 617, is made entirely of Bakelite
and incorporates two Weston photo cells. This "double unit"
construction is exclusive and is said to insure an accurate
reading from the dimmest to the brightest light conditions.
The two light cells are mounted behind grids in such a way
that extraneous light cannot affect the reading and only the
light reflected from the subject is registered. These photo
cells are not affected by variation in temperature or exposure
to direct sunlight. In use, the instrument is simply pointed
toward the subject, whereupon the meter needle deflection on
the side towards the observer indicates the basic light con-
dition immediately. This reading is then correlated to the
proper value on a sliding exposure guide, which gives the
lens setting for both movie and still cameras, type of film
used, shutter speed and other photographic conditions. A
convenient sighting guide at the [Continued on next page]
Eastman Kodak Compar
I n terior closeup of
Cine Kodak 8 shows
easy film threading
350
MOVIE MAKERS
top of the meter aids in locating the sub-
ject. Succinct directions for use are in-
cluded on a plate at the back of the
meter, while a complete booklet gives
further, detailed instructions. A ring
attached at one end is a convenience in
handling and this may be threaded
through the camera carrying strap if
desired. The meter in its entirety is the
product of careful research and engi-
neering skill.
Victor Kodacolor ■ Kodacolor is
now available
for all Victor cameras and projectors,
according to a recent announcement of
the Victor Animatograph Corporation,
in Davenport, Iowa. Color lenses
for the Model 3 and the Model 5 cam-
eras will consist of the Hugo Meyer,
one inch, //1.5; all such lenses now in
use on Victor cameras may be returned
to the factory for fitting of the Koda-
color assembly, while new issues of this
objective will be supplied by Meyer
with a special Kodacolor adaptation to
permit a color attachment at any time
without factory fitting. Victor projectors
may be prepared for Kodacolor screen-
ings by the use of a special projection
lens equipped with the projection filter
assembly, which may be used with the
projection objective as an alternative
with the standard equipment for mono-
chrome screenings. All Victor dealers
are prepared to supply these adjuncts
to a new filming opportunity.
351
Ensign takeup
A new feature in
the well known
Ensign camera, an importation made by
Willoughbys, 110 West 32nd Street,
New York City, is an improved form
of reverse takeup which is incorporated
by the English manufacturers. Previous-
ly, the reverse takeup on this camera
made use of an extra winding key, but,
in the improved form, the film may be
wound backwards simply by turning
the hand crank in the proper direction,
without further adjustment. A new
price of $99 has been established for
the Ensign Auto Kinecam with $11
additional for the incorporated reverse
takeup. Other models may also be
equipped.
For fifty years ■ The firm of w- c-
Cullen, 12 Maid-
en Lane, New York, N. Y., celebrates,
this month, its fiftieth anniversary
under the same management. In 1882,
W. C. Cullen acquired from his brother,
Stratford J. Cullen, the latter's photo-
graphic interest in the Holden Station-
ery Company and established the W. C.
Cullen business. In 1891, Mr. Cullen
moved his quarters across the street to
61 William Street and, in 1925, the old
quarters having been torn down, the
firm moved to its present address, 12
WUJWHMg
WESTON
XPOSURE METER
• A remarkable new Exposure
Meter scientifically designed to give accurate exposure informa-
tion to photographers interested in "stills" and "movies."
• It directly and positively meas-
ures the brightness of the subject or scene and translates the
measurement into proper combinations of shutter timing and
aperture for any film or plate speed.
• It embodies thefamous Weston
Photronic photo-electric cell and a high-grade Weston measuring
instrument, built by a manufacturer internationally famed for
world standard products.
• No batteries — always ready
for use— no adjustments— independent of climate, weather or
intensity of light— exceedingly simple to operate.
• This Exposure Meter was de-
veloped by the Weston Engineers
in collaboration with Research
Engineers of leading film manu-
facturers and will prove a reve-
lation and boon to all interested
in better photography.
PRICE
*39
75
ELECTRICAL INSTRUMENT CORP.
626 FRELINGHUYSEN AVENUE
NEWARK, N. J.
352
AUGUST 1932
In addition to his
regular service in
FILM EDITING
HAND-LETTERED TITLES
and PRINTED TITLES . . .
. . . Ralph R. Eno has recently inaugurated a sup-
plementary 25c service for movie makers whose
requirements indicate titling, moderate in price,
yet typically Eno in quality. . . . Titles contain-
ing more than 8 words, 3c per additional word.
You will want to try them. Coupon
below, for your convenience.
RALPH R. ENO, 1425 Broadway, New York
Dear Sir:
Enclosed please find $1.00 and copy
for 4 titles. None of these titles
contains more than 8 words.
Name.
City.
EALPH 13. ENC
America's Pioneer (16mm.) Art Title
Builder and Film Editor. Charter
Member ACL
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
IDTER^
prWuce OvonhqM' ind NiqW Efforts in "uayrims-
Fotj Scenes- UiffasidfWs and many 9tb«r effects.
Ask your dealer, or write to
GEORGE H.SCHEIBE
ORIGINATOR OF EFFECT FILTERS
A New Light for
INDOOR MOVIES $5
complete with Reflector and Stand
This new reflector takes either the 400 T bulb or
the new 64 volt bulb, and gives equivalent light
from either. Takes any T type bulb up to 500 watt.
Just the thing for portraiture or indoor movies.
Reflector and stand sell regularly for $11.50. Our
price — only $5.00 while the supply lasts. The 64
volt bulbs are only $0.40 each. The 400 T bulbs
are $2.75 each.
Ask for Our Bargain Book — Just Off the Press
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM-8F, Chicago, 111.
Maiden Lane. This pioneer firm con-
ducts a photographic and optical busi-
ness, having discontinued a radio line
that was added for several years. W. C.
Cullen is well known in the amateur
movie field and features a special li-
brary. At the present time, W. C. Cul-
len has associated with him his son,
Robert S. Cullen, and a staff of five.
Few firms in the photographic industry
can boast a continuous management of
this length and Movie Makers is happy
to wish Mr. Cullen and his associates
success and prosperity for the future on
this important anniversary.
Full size comparison of
16mm., 'double 8mm.' and 8mm.
H. E. R. ■ These initials designate a
film processing establish-
ment in New York City which is fully
equipped to give service of the finest
quality in all branches of negative and
positive work in 16mm. or 35mm. The
H. E. R. Laboratories, Inc., 457 West
46th Street, New York, occupy a build-
ing erected exclusively for this purpose
and inspection of these quarters reveals
every modern device to insure an out-
put of uniform, high quality. An air
conditioning plant supplies every room
in which film is handled with washed,
dust free air, insuring the cleanliness
so essential to perfect projection re-
sults. Full equipment is maintained for
silent and sound film and it is espe-
cially significant to note that this lab-
oratory was chosen to process the
16mm. film used in a recently intro-
duced sound on film system. Automatic
machinery is used wherever possible
and constant tests are made to insure
uniformity of output. Amateurs work-
ing in negative and positive should in-
vestigate the possibility of using this
excellent service.
Meyer-International ■ This month
marks the
adaptation of the product of a promi-
nent optical firm to that of a com-
pany noted for the excellence of its
mechanical product. The //2.8 Hugo
Meyer Trioplan lens is now to be had
in conjunction with the Simplex
Pockette camera. The International
Projector Corporation, manufacturers
of this compact instrument, announce
that, in the Meyer lens, a most satisfac-
tory filming aid has been secured and,
while other lenses used with this cam-
era have given thorough satisfaction, it
is felt that, for those who desire it, a
faster lens of this make and reputation
should be made available. The Interna-
tional Projector Corporation also an-
nounces an improvement in the con-
struction of the exclusive Simplex
Pockette magazine, which will make
even more dependable the operations of
loading and exposing the film.
New Arri ■ The firm of Arnold and
Richter, of Munich, Ger-
many, is noted for the quality and rea-
sonable prices of its motion picture
apparatus for development and print-
ing. The latest product of this firm is a
light, compact, 16mm. printer, the
Arri 16. The new printer has nine light
changes, extra long claws, shutter,
motor drive, brake and arms holding
100 feet of negative and positive. The
American representative is Geo. F.
Wild, Box 177, Flushing, N. Y.
Craig Junior ■ A simple and inex-
pensive splicer is of-
fered the 16 mm. user in the Craig Jr.
splicer, a recent product of the Craig
Movie Supply Company, Los Angeles,
Calif. Making a straight splice, this
accessory is simple to operate and has
a specially designed scraper that may
be attached directly to the base of the
splicer when not in use. The Craig Jr.
is available either mounted alone or in
combination with the Thalhammer re-
wind.
H & H holiday ■ Setting a new
standard in re-
tail photo supply practice, the Herbert
& Huesgen Company, 18 East Forty
second Street, New York City, have
been and will be closed on Saturdays
during the months of July and August.
Eastman Kodak Company
Twenty five foot roll of
film fits the palm in 8mm.
equivalent of 16mm. unit
GraCOphot ■ ^ visual exposure and
focusing meter of new,
unusual and compact design has recent-
ly been imported by Burleigh Brooks,
127 West 42nd Street, New York City.
This is the Gracophot, a tubular, chrome
MOVIE MAKERS
353
finished instrument with which it is
possible to estimate distance of the
subject and exposure in one observa-
tion. Looking into the field of the meter,
one sees the actual image of the sub-
ject clearly illuminated; this may be
focused to critical sharpness by revolv-
ing the outer ring. At the same time, a
series of index figures indicate the time
of exposure and it is only necessary to
correlate these to scale graduations en-
graved on the body of the meter to get
correct settings for still or movie shots.
The distance setting for the lens will
also be indicated.
Photoplay Guide
In Film Play
Production For
Amateurs, written by George H. Sewell
and published by Isaac Pitman & Sons,
2 West Forty fifth Street, New York
City, the beginning photoplay producer
will find an interesting and helpful
guide to this subject. Succeeding chap-
ters discuss in a pleasantly simplified
manner such subjects as the film story
and continuity, personnel, equipment,
scenery and properties, makeup, and
editing and titling.
Film ready for development at
modern H. E. R. Laboratories.
New viewer ■ ^ ^m viewer an<^
editor in which the
picture may be inspected in full motion
is announced this month and will inter-
est all amateurs who are seeking new
facilities for cutting and splicing the
summer's film crop. This and other
possibilities are featured in the Rham-
stine Film Editor, a product of J.
Thomas Rhamstine of 501 East Wood-
bridge Street, Detroit, already noted in
the cine field for the pioneer photocell
exposure meter, the Electrophot. The
new device provides a slanting, polished
metal table on a firm pedestal which
carries an original type of film splicer,
film viewing track and illuminated,
magnifying eyepiece. Film may be run
either forward or backwards.
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4;TESSARF2.7andF3.5,TELE-TESSAR F6.3
FINDERS
FILTERS ■ SUN SHADES -
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave.,.NewYork. 728 South Hill St., Los Angeles
Double Allowance/
Now . . . Bass . . . Filmo
Specialist . . . offers the op-
portunity of owning the
very best 16 mm. camera
made. Filmo 70 D: 3 lens
Turret ... 7 speeds and
everlasting construction.
Trade your old Camera
Your old Filmo 70A is worth $100 in trade, Cine Kodak Model
B $75 and proportionate allowances on other cameras for a
limited time.
Own the world's finest
Filmo 70D is priced with 1" Cooke //3.5 lens and case at only
$251.00 Tax Paid.
Wire ! Write ! But act for quick action trade. Catalog and Bar-
gaingram Free.
BASS
CAMERA COMPANY
179 West Madison St. Chicago
Camera Headquarters for Tourists
'
1 ■"' :1
^B I^H i&- -&a
is ,- '-^ 1 ■ ■ ■
^'.':.w:.:A.'
: j ., ,
8S&
MOVIE MAKERS
355
Plane filming
[Continued from page 336]
Now the plane begins to cross lakes,
rivers and mountains. The cameraman
is very careful to choose the angle at
which the most shadow will be available
so as to secure the necessary contrast
with the usual flat lighting. He may
point the lens more to the right or to
the left, depending upon the position of
the sun, avoiding only that angle at
which the sun would be directly behind
the camera. Early morning and late
afternoon will, of course, be the best
shooting times, all other things being
equal. It is the shadows that make light
visible. Beware of flat lightings!
The next thrill, reasonable luck aid-
ing, will be the sight of beautiful cloud
formations below or above the plane.
Being in a cloud is the same as being
in a fog or rain, and does not lend itself
to much pictorialism unless the rain-
drops are very strongly backlighted, to
say nothing of the difficulty of shooting
through dripping window panes. The
traveler may not be lucky enough to
secure a perfect shot of a broken cumu-
lus formation, usually secured only at
4,000 to 10,000 feet altitude, but he
will probably pass some ordinary rain
clouds which will present novel lighting
effects from a distance. And, if a beau-
tiful sunset behind clouds happens to
be visible from his side of the plane,
perhaps he will remember in time that
he has brought a camera with him.
As the plane will usually circle
around the landing field on its way to
solid earth, a natural panoramic effect
will be available, in many cases, by the
simple expedient of holding the lens
flat against the window, as at the start
of the trip, assuming that the position
of the sun on the horizon permits this.
The latitude of the film itself will take
care of the one hundred percent varia-
tion in exposure due to change of light
direction.
For the same reason that the air
tourist will have selected, on his trip
through the sky, only those scenes
which gave him a thrill, and left out all
others, he will probably be well advised
to devote very little footage, if any, to
more ground scenes. It is not the me-
chanics of air travel that will interest
his friends around the screen next win-
ter but whatever novelty he has been
able to find in such apparently stand-
ardized arrangements. If he expected,
before starting out, to "have to" make
a certain shot, he may be reasonably
sure that that shot will not be worth
taking. But, if he is ready with his
camera whenever his lips begin to form
an "Oh" or a "Gee," then he will bring
back something unusual and worth
while — provided he has been able to
resist the temptation to "panoram."
NOW
... 16 mm. Art Titles, Develop-
ing and Printing by the lead-
ing theatrical film laboratory.
Why be satisfied with ordinary results? Let us show you
what professional motion picture quality means.
All major film producing companies use H. E. R.
16 mm. Titles
16 mm. Negative Developing
16 mm. Reduction and Contact Prints
16 mm. Sound-on-film Prints (R.C.A.)
35 mm. Negative Developing
35 mm. Printing, Sound or Silent
•
Ready to serve you are linotype machines, cameras,
presses and artists as well as a large library of artistic
title backgrounds. Our expert editorial staff assembles
film in a professional manner. Special apparatus for
trick printing and the making of duplicate negatives.
H. E. R. LABORATORIES, Inc.
457 W. 46th St., New York
LOngacre 5-3342-3-4-5
A complete film service under one roof
"EVERY PRINT A SHOWPRINT"
N
ew
N
ew
N
ew
SKINNER
Exposure Meter
without batteries
This meter does not re-
quire batteries — a unique
distinction — and it covers
the entire range from
f/lA to //64.
Scales available for motion pic-
ture and still work.
IT TAKES THE GUESS OUT OF
PHOTOGRAPHY
Sole Distributors
SPINDLER & SAUPPE, INC.
SAN FRANCISCO LOS ANGELES
86 Third Street 811 W. Seventh Street
Write for literature
Make
a Scenario of
Your Summer
Pictures
— of happenings
here and there, built
into one continuous
story carefully plan-
ned in advance.
To make the story
complete you will
need titles. Ask your
dealer or write us di-
rectly for informa-
tion about our new
inexpensive Koda-
titles.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.,
New York, N. Y.
356
AUGUST 1932
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
Important Announcement
For immediate inspection and
delivery.
A limited quantity of the new
WESTON
Exposure Meters
The exposure meter that works
on a NEW principle. Incorpo-
rates a double photo cell. NO
BATTERIES. Direct reading.
Phone
<M
hSon*
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
NEWS FOR
AMATEURS
Print Your Films
with this NEW small
AUTOMATIC
STEP-PRINTER
ARRI 16
made by
Arnold & Richter
Moderate price including motor
for details write to
C. F. WILD, Box 177, Flushing, N. Y.
F. REICHEL, 3915 W. 3rd Sr.,Hollywood,Cal.
•
TITLES
\T^» — ' Complete editing and titling
IVESTtWJAVt service. (16 mm. or jtand-
/Q£\ ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendale 001 1
DETROIT, MICH.
SWAP YOUR REELS
At NAVILIO'S..
where you will find the widest assort-
ment of subjects available.
No matter how many reels you have,
I or 1000, you may swap them all, each
and every one, if you desire, and receive
other interesting subjects in exchange . . .
all in good condition.
400 ft. Reels $1.00
plus return postage
QUALITY — SERVICE — SATISFACTION
PROMPTNESS
J.NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N.Y.
The night boat
[Continued from page 338]
the scenes I had taken both ways from
the middle and wound up by leaving
them in their filming sequence. There
remained only the titles and my first
resolution was not to get literary about
them. (My department is history, by
the way. ) The Way Out introduced the
Statue of Liberty shot. A Geyser Guards
the Channel preceded the fireboat, while
the tugboat just came into the picture
under its own steam, with no aid from
me. As a compliment to my friend in
the Latin Department and to defend
myself against the charge so often laid
against me of having no sense of humor,
I called the scene going under the
bridge arch, Subjugated.
The next morning, we were wrapped
in fog and, very cautiously, I risked ten
feet of the boat's funnels and masts
which turned out to be not half bad,
when explained by a title. As we came
into Boston harbor, there was one shot,
passing a lighthouse on a barren island,
where the boat's movement gave a hap-
py illusion of depth. At India Wharf,
I got enough footage to serve as the
best possible introduction to the Eight-
eenth Century quality that is the essence
of Boston.
What happened in Boston, during my
five days there, is quite another matter.
When I stepped on the night boat to
come back to New York, I had four rolls
of exposed film and I had managed to
wangle out of my food budget one roll
of supersensitive, which was somewhat
like a bride's hope chest. But imagina-
tion and confidence in the future had
prevailed and I had it. As we sailed out
of Boston Harbor, I went about the deck
with an empty camera, sighting and
button pressing industriously and, at
last, I was rewarded.
An extremely prosperous looking
gentleman, with one of those enviable
cameras, turret bristling with lenses,
and followed by a "gentleman's gentle-
man" carrying tripod and accessories
whose doubles I had looked at often in
shop windows, made some casual and —
to be quite honest — condescending re-
mark to me. There followed a discus-
sion of shots and angles, filters and
films and it developed that this fellow
amateur had no intention of staying
awake for the passage of the canal, as
he was due at an early meeting in New
York and needed rest. I asked him
boldly if I could borrow his camera for
the night and his astonishment was so
great that he gasped out a ''yes" that
a more mature thought, struggling
against a native courtesy, would, I am
sure, have vetoed if I had not dispos-
sessed him of it at once. As it was too
late for marine filming, he capitulated
gracefully.
My hundred feet of footage of the
night scenes through the canal are
unique, I believe. The fast lens and the
supersensitive gave me a series of
scenes that are a cross between realism
and something out of Edgar Allan Poe.
Through this canal there is a continu-
ing public ceremony of "meeting the
boat" and the steamship company al-
ways plays up to it. Hundreds of auto-
mobiles stream along the highway par-
alleling the steamer and more hundreds
on foot are gathered on every shore
ledge and promontory. The boat's
searchlight picks out humorous scenes
and, when these give out. lights up the
crowds. This continues for the better
part of two hours. Since this is the first
summer that amateurs could film such
an event, I have felt like a real pioneer
with my footage.
The next morning, I returned the
camera and recklessly offered to send
the accommodating plutocrat a dupli-
cate of my pictures. He gracefully ac-
cepted, but wanted to pay me in ad-
vance. Well, the grand manner comes
high, but I stuck to it and my hundred
feet are an inexcusable extravagance,
but worth it.
The cutting is still ahead of me, be-
cause, in Boston, I departed from the
diary plan very extensively. The edit-
ing and titling are accomplished and I
have about decided to finish up with two
films, one of them, true to my first deci-
sion, to be called A Trip To Boston and
the other and shorter one to go on the
screen as The Night Boat.
Enter the Eight!
[Continued from page 335]
For the first time? Yes, because the
same roll of film is shot twice! No, it's
not all done with mirrors, nor is there
any remote danger of double exposure.
Let us see how the film travels through
the camera in this singular journey,
which is in reality a double one.
A glance at the illustration on Page
352, where the eight and sixteen milli-
meter films are compared, will show
that, in the original "double eight" film,
there are four small frames contained
within an area corresponding to the
usual 16mm. frame. One row of these
frames faces one way, the other in the
opposite direction. There is a single
perforation at the edge of the film for
every picture; thus, there are twice the
usual number of perforations in the
new "double eight" film.
Here is the key to the situation:
first, one row of pictures is exposed
down one side of the film. After this is
done, the spool is removed from the
takeup spindle and placed on the feed
spindle again, without reivinding. A
moment's thought will make it clear
that, upon rethreading the film, it will
MOVIE MAKERS
357
be reversed as to left and right, so that
the opposite, unexposed portion of the
film will pass in front of the lens! Thus
we resolve our paradox and understand
how the film is exposed a second time.
Ingenious construction of the spool and
spindles makes it difficult to go wrong
in this operation of double threading.
For the rest, the film is sent to the
processing station where it is reversed,
split down the middle by special ma-
chines and spliced continuously in the
order in which it was taken. The result-
ing film, when returned, has perfora-
tions on one side only and is eight milli-
meters wide.
It will occur to some, who are fa-
miliar with the reversal process, that
the well known compensation facilities
of this process for "evening up" on over
and under exposure might be spread
over two rows of pictures, inasmuch as
the double width goes through the
processing machine before the cutting.
This factor is taken into account by
masking devices, however, so that the
finished film is in every way equal in
this respect to the results had from
16mm. in reversal.
Because of the fact that each picture
is one quarter the area of the 16mm.
frame, the original twenty five foot roll
of the new film gives a final screen time
equal to that of a hundred foot roll of
16mm. In this lies the economy of the
"8" system. From the point of view
of screen time, which is the ultimate
standard, the film cost is cut, not by
half, but by nearly two thirds!
Now, we have finished with our "dou-
ble" exposure in the camera and the
film has been processed and returned.
What of the projection? Judged by pre-
vious standards, so small an image must
impose the severe test of greater mag-
nification. An original image one quar-
ter the normal frame area, projected
on a home movie screen, might be ex-
pected to exhibit "grain" and some lack
of definition.
But, advancing one more important
step, the Eastman company has pro-
duced a particularly fine grain panchro-
matic emulsion which gives a clear,
sharp picture, lacking nothing in defini-
tion or detail. The film, when exposed,
bears a non halation backing which
gives the same freedom from flare
which characterizes all film so treated.
The camera has a scientifically designed
anastigmat with a speed of //3.5, made
with a care and precision equaling that
of any larger lens. Pictures taken and
presented with the outfit are all that
can be desired, both in clarity and il-
lumination.
Two projectors are now furnished —
the "Kodascopes 8" — and each bears
the stamp of the high engineering
standards set by the company in its
other cine products. The Model 20 pro-
jector is made for the smaller size
screen images, the Model 60 for the
larger. Both are excellent machines,
easy to thread and operate. Each, has a
film unit capacity of two hundred feet —
the full equivalent in screen time of
four hundred feet in 16mm. The larger
projector has a more refined optical sys-
tem, a projection lens of larger aper-
ture, a special, decentered filament
bulb, motor rewind and other features.
Thus has an epochal new develop-
ment, a striking departure in the field
of home movies, appeared full blown
and perfected in the midst of this event-
ful year of 1932. No mere toy this, but
the product of years of research and de-
velopment; a perfected camera, a well
made projector and, above all, a film
and emulsion brought to such a degree
of development that the tiny frame, pro-
jected on the home screen, is of high
quality and definition. It is said that
the development of this fine grain, non
halation emulsion is the result of re-
searches into the field of talking mov-
ies, of color, even of star photography.
However this may be, here is the result,
interesting to present movie makers
and probable creator of many thousands
more to be. Enter the Eight!
Reeling while
they ride 'em
[Continued from page 337]
red, yellow and orange predominating.
At the beginning of an outdoor show, a
4X filter might be used if the sun is
very bright, particularly if the back-
ground is a white canvas wall. Usually
the background is dull gray, and the
cameraman cannot count upon the bril-
liant sunlight to last very long, so ordi-
narily a 2X filter is best. As the sun
travels west and the bright light dimin-
ishes to such a point that the aperture
must be opened up to the limit; then
dispense with the filter for the rest of
the show.
Don't overlook the opportunities for
slow motion shots. A rider usually
keeps his seat on a bucking bronco
only about thirty seconds, so a full
length slow motion shot may be had
without using too much film. After you
have shot two or three "bronco busters"
at regular speed to record natural ac-
tion, cut to slow motion and follow
through to the end, showing the rider
picking himself out of the dust as the
"bronc" continues on his way.
"Panoraming" will frequently be
necessary, for the action will cover the
entire arena before a stunt is over. Be
certain, first, that the camera is fully
wound before each shot, and then get
the object in the exact center of the
field and keep it there no matter how
fast it travels. When shooting "bronco
EXPOSURE
AND DISTANCE
IN ONE METER
. .. . ■ . .■;;■
GRACOPHOT
Gracophot, the first tubular meter for
the visual determination of correct ex-
posure and accurate distance, displays
— at a glance — both readings in its
finder field. Equally advantageous in
still and cine photography, by daylight
or artificial light, it is a universal pho-
tometric device operating with absolute
reliability. The scales are indelibly en-
graved on the chromium plated surface,
rendering them impervious to condi-
tions of moisture and dust. Unique, ac-
curate and well-made, it is easily ma-
nipulated and its design is such that
focusing ring and exposure setting can-
not possibly be confused.
BURLEIGH BROOKS
127 West 42nd St., New York
~ " " = The Whole
Fascinating Proceeding
of working up a movie among your friends or an
amateur group explained in detail, step by step.
FILM PLAY PRODUCTION
FOR AMATEURS
By George H. Sewell
8vo. Cloth. 176 pp.
Fully illustrated. $1.50
The first practical handbook on all the matters of
preparation, equipment, camera work and acting
which the individual or group must consider.
Write for descriptive ISAAC PITMAN & SONS
list of Pitman books . v ; _.
on other phases of 2 W. 45th St.. New ^ ork City
Photography. =^^^^^^^^^^^=^=^^^^=
Exquisite night effects at garden fetes —
beach parties and campfires — unbelievably
beautiful and realistic — are achieved with
"Newmanlite" Flares — the favorite illumi-
nant of explorers and naturalists the world
over. If you desire 100% effectivity ask for
NEWMANLITE FLARES
Booklet and prices on request. /^
I. C. NEWMAN CO., INCJ^
545 Fifth Ave. New York/
/W7
358
AUCUST 1932
KJCUf MOGULLBROS. NCIIf
H C Iff 16mm. Productions II C ft
"Cocktail Time In Cuba." 100' $3.50
25' (Each) 85c < 400' ( Each) .$12.75
Pushing Horse S Barber's Wife
Exploding Volcanoes > Hot Cakes
Fancy Diving < _, „ _ . n_„
Bootlegger's Special < „Tw0 *"" 0nes
Boxing Kangaroo S Barnyard Romance
Cuban Rhumba ) Deep Stuff
Jap Top Spinners / Fun in a Pullman
Silent: I00 Ft. $3 II r 111 Universal 400 ft.
400 Ft. $8 HE TV Disc Sound $13.95
DJ4T!LIEVRaw Film Magazine $1.49
|H I H C A9''/2mm-3(>' film.45c.9'/2mm.60' 90c
Beaded 30"x40" Screen on Roller $4.86
riDTUAU Home Talkie Sound At. $17.49
tAO I IB A HI film. Cleaning Outfit. 73
Splicing Outfit 1.28
400' Reels 38c Humidor Can 45e
If I ATA D f 3-5- Camera and Case... $75
will I U II $200 Projector and Case. $125.00
ni|in| r« 16mm. CAMERA & CASE. $35.00
ullKlr L C A Casette Proj. & Case $75.00
KODACOLOR LENS— VERY SPECIAL
B&H PHOTOMETER, Model "A" and Case $13.50
Eastman / 1.9 B.B. IIQ r f| Filmo B.H. 70 A
Camera $54.50 U O C U Camera & Case $65
Bargain & Library Lists — Same day service!
Mogull Bros., 1944 Boston Rd.,N.Y.G.
ioo feet \ 6rnm. Safe'y Fi|n|
Daylight $4.25 Loading
For those prefering a faster film we offer our
Grayback Panchromatic Super-Sensitive Film
Priced at $5.75 100 Feet
These prices include FBEE PROCESSING with a
negative and a positive print.
Also Parcel Post Charges Prepaid.
Send for 0lr9l.h« Cilm I ah 73l'/2 S- Ferris Ave"
Literature OlraUOe rilm LdD. Los Angeles, Calif.
16mm. SERVICE IN
PHOTOGRAPHY AND PROJECTION
for the varied requirements of
INDUSTRIAL. INSTITUTIONAL and
WELFARE WORK
Special Rates to Charitable Organizations.
Our Service is Prompt, Efficient and
Reasonably Priced.
NEIL P. HORNE
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
DOWN ON THE FARM
16MM. 100 FT. $2.90
10 "the end" or "one moment please,"— each 2'/2 ft.
long — no two alike — all on moving photographic back-
grounds— $1.00.
Your own title put on above backgrounds — 10 for $2.50.
H. C. FILM SERVICE
12 19 1 ILENE AVE. DETROIT, MICH.
Have your
TITLES
expertly made by a
NEWSREEL CAMERAMAN
8 words 25c
MOKT W ,•% ■ ■ O ,%'
1791 Pine St., Birmingham, Michigan
Back issues of
MOVIE MAKERS
Previously unavailable are
now for sale at 50c each.
(60c in Canada)
1926 — December
1927 — February, March, April, July, Au-
gust, November, December.
1928 — February, March, August, Sep-
tember
All other 1927, 1928 and 1929 numbers are
for sale at the same price.
MOVIE MAKERS
105 West 40th St. New York, N. Y.
busting," you will have to "panoram"
rather fast, which will blur the back-
ground, but if you keep horse and rider
in the center of the field, the result will
be good. "Panning" such a picture of
action is radically different from scenic
"panning." In the latter case, you must
"pan" very, very slowly, to avoid a blur,
but when "panning" a moving object,
keep that object in the center of the
lens field, no matter how it moves, or
where, and the blur will only serve to
increase the sense of great speed. Be
careful not to jerk the camera, but turn
with an even, smooth swing. The acme
of perfection in rodeo pictures is
achieved by keeping the moving object
in the middle of the frame.
The clinic
[Continued from page 340]
at the partial phase of the eclipse with
eyes unprotected. Even when more than
half of the sun's disk is invisible, seri-
ous injury may result to the eyes by
Harvard Collegre Observatory
The "Diamond Ring" visible
during one phase of eclipse
is one of many unusual shofs
protracted gazing at this phase. Pro-
cure an old negative glass, clean it and
smoke it over the flame of a smoky wick
and use this for an inspection glass, or
use a very dense plate or film negative
for the same purpose. At best, unpro-
tected inspection of the sun will tire the
eyes and deprive the observer of his full
appreciation of the phenomena that
take place during totality.
Greece moves west
[Continued from page 339]
been the most infrequently filmed and
is certainly worth attention.
Yachting and rowing will supply a
different type of filming opportunity.
Important, and sometimes difficult in
each case, is securing near or medium
shots of entries before the races. It may
be possible with a telephoto lens to se-
cure a medium shot of the shells as
they are being launched or the yachts
as they manoeuver for position. In these
cases, the cameraman will probably
have more freedom.
In the case of every sport, shots of
the contestants, just before the event,
will be extremely valuable. A closeup
of a flag or other national insignia,
spliced in just before the scene of the
athletes, would be a clever way of iden-
tifying them. Lacking this, titles should
be used. Unless a very ambitious pic-
ture is planned, a straight newsreel
treatment would be most effective and
simplest. This could be carried out in
titles by handling them just as in the
professional newsreels before the com-
ing of the talkies.
The modern Olympiad is a revival of
the ancient Olympic games whose
origin is buried in obscure antiquity.
They were first celebrated at Olympia
in Elis, and from 776 B. C. they were
consecutively held for over a thousand
years. The great antiquity of the tradi-
tion of the games suggests a brief his-
torical introduction for an amateur film
of the Tenth Olympiad. A few lucky
movie makers will have scenes of the
ruins of ancient Greece which might be
spliced in with appropriate titles as an
introduction to the film. Such shots
might be culled from library travel films
and, failing this, similar scenes might
be made of the models of Athens in
many museums.
Because of the scope of the sports
included in the Olympic Games, it is
manifestly impossible to provide ade-
quate suggestions for filming a frac-
tion of them in one article. The ama-
teur movie maker keenly interested in
picturing some particular sport will
find helpful advice in recent issues of
Movie Makers, as follows: track and
field, April, 1931 and May, 1932;
water sports, June, 1931 and August,
1931; equestrian, October, 1931; in-
door sports, January, 1932.
Hits and misses
[Continued from page 345]
ly defined under nicely placed cloud
masses and framed by the silhouette of
the trees and rocks in the foreground.
The second picture, unfiltered, showed
only the foreground objects, the moun-
tains and clouds having been obliterat-
ed in extreme overexposure. The film
used in both these shots was regular
speed panchromatic.
To complete my records of vacation
pictures, I usually try to pick out some
object, plant or animal which is char-
acteristic of the section in which I am
vacationing. In doing this, on one occa-
sion I selected a particularly lovely
fern which was growing at the edge of
a brook flowing through a dark ravine.
The deep green of the fern, the shadow
of the ravine and the dark mass of the
surrounding rocks all conspired to ab-
sorb so much light that the chance of
MOVIE MAKERS
359
success at the moment was slight, even
at //1.9 with superspeed film run at
half speed. However, I felt that the
sun would assume a more favorable
position later in the day and, in this, I
was right. Several hours later I found
a much more favorable light condition
and was able to add an excellent cine-
matic record of that particular fern to
my collection.
Generally speaking, I have had a
fairly high average of successful shots
except in cases where I have ignored
simple procedures which I knew, but
which, in the hurry of the moment, I
had overlooked. By keeping these rules
in mind, it seems to me that the summer
filmer may go forth to record his good
times and his impressions with the com-
forting assurance that his results will
yield a satisfying majority of hits over
misses with which to refresh his winter
memories.
Seashore stunts
[Continued from page 341]
haps you are not too proud to follow
in the footsteps of D. W. Griffith. Un-
til the film went beyond the two reel
stage he made the same subject — with
variations — practically every summer.
In essence, a little boy or girl is playing
in a boat near the water. The tide rises
and carries the craft out to sea. The
frantic parents eventually give chase
with the assistance of the neighbors.
This was worked with the favorite Grif-
fith device of the chase. The first third
of the picture plants the idea. The last
two thirds are given to alternating shots
of the child and the parents. About half
the shots of the child in the boat should
be made alongside a pier, or float, with
the camera shooting down into the boat
and the closeup barely showing the wa-
ter. These are alternated with the child
standing up in the boat at sea and wav-
ing for aid, the shots being made from
a following launch. It helps a lot to
pull the plug and show the boat slowly
filling. Properly cut, this is guaranteed
to bring plenty of suspense. It all de-
pends upon the growing stress of the
child's danger and the fear that the res-
cuers will not arrive in time.
Stories on board schooners or steam
yachts suggest themselves by the score.
There is the girl who falls overboard
and is rescued by the hero, the comedian
who catches a fish so big it pulls him
overboard and any one of a dozen fa-
miliar triangle plots. A thing to be re-
membered is to keep the boat in the pic-
ture and not to shoot continually over
the rail. A small footage of the wake of
the ship or of the prow cutting the wa-
ter will help. The latter may be ob-
tained from a position on the bowsprit
if the boat rides high enough.
R. I. Nesmith
Illustrating the use of the
art title background on page
354. Title by Ralph R. Eno
Getting back to the surf, there is an-
other story that never fails to get laughs.
Paterfamilias is in the water minus his
bathing trunks while daughter and the
handsome but impecunious suitor leave
in a motor to get married in their bath-
ing suits. He is hopelessly prevented
from stopping them.
Even a picture of a crab race is amus-
iny. Half a dozen are caught and placed
in a circle drawn in the sand. The first
crab over the line wins. Make some
closeups of the ring and some medium
and more distant shots of the crowd.
Cutting is a simple matter.
This is merely scratching the surface,
but, by the time some of these are made,
you probably will be able to work out
others to suit the local conditions. It is
all a comparatively simple matter, once
you get started, and there are enough
opportunities along the beach to pro-
vide work for all summer. Keep the sto-
ries short. A vacation crowd is apt to
lose interest in a second day's shooting
on the same picture, but they'll be ready
for a new picture any day.
Mountain madness
[Continued from page 343]
A most interesting cinematic shot
which often stands revealed to the
mountain filmer is that afforded by the
shadows of clouds moving majestically
across an opposite hillside. To record
this effect properly, a filter of medium
density may be used. Sometimes, if the
clouds seem to move too slowly, a cam-
era speed of eight frames a second may
be used with fine results.
Road signs are often worth filming
for use as punctuation or in lieu of
titles. An example is offered by the sign
which stood at the top of a long series
of snow covered switchbacks, Cau-
tion, eleven miles of carves and grades.
A scene of such a road sign has dra-
matic value. The names of passes and
their elevations in addition to being
title material will serve as a check on
your memory. There is a tendency here
to use too much footage and a footage
CRAIG JR. $5.00
Ask your cine dealer to demonstrate
this new low-priced Craig Jr. Splicer.
Mokes a perfect straight splice. Easy
to operate. Attractive appearance.
Combination $I2.50
Craig Jr., a free-running post and a
Thalhammer Silent Rewinder mount-
ed on long board.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOSANGELES, CALIFORNIA
Represented by Ampro in the East
Come and
see the new
CINE-KODAK
EIGHT
at
ne
J70 -I fl
oris
Est.
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
c a
word
Art Titles • 3
20 Illustrated Border Styles
Beautiful Borders tor all occasions.
Weddings, Children, Tropics, Winter,
Vacations, etc. Use one or all without
extra charge. Very smart type style.
Eight words or less per title 25c; extra
words 3c. Minimum order $1. "The
End" FREE with order. Quality guar-
anteed perfect. Write for illustrated
folders.
Art Title Quilde
5519 Broadway Chicago, 111.
360
AUCUST 1932
CI
a ssi
fied
ad ver t isi
ag
10 Cents a Word Minimum Charge, $2.
| All classified advertising copy will be care-
fully scrutinized but Movie Makers cannot be
held responsible for errors or statements made
by classified advertisers. Box members are pro-
vided for advertisers who wish to use them.
Mail received for these box numbers is for-
warded by Movie Makers unopened to the adver-
tisers concerned. Remittances, if any, to cover
goods offered for sale in this department should
be made to the advertiser and not to Movie
Makers. The closing date for the receipt of
copy is the tenth of the month preceding date of
issue. Cash with order is required.
EQUIPMENT FOR SALE
■ BASS OFFERS brand new Peko Maestro im-
proved 16mm. sound projector and built in turn-
table 33 and 78, complete with amplifier, regular
$255, cash price, $110, each. Write for details
and be sure to send for your copy of the Bass
Bargaingram #209, crammed with bargains,
1001 items for amateur and professional and
sent to you free. Before you trade your old
equipment, write to headquarters for appraisal.
BASS CAMERA COMPANY, 179 W. Madison
St., Chicago, 111.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
| UNUSUAL bargains in movie cameras and
projectors, all makes and sizes including both
16mm. and 35mm. Send for price list and Cata-
log C. MOVIE SUPPLY COMPANY, 844 S.
Wabash Ave., Chicago.
BONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ SIMPLEX FADING GLASS will produce
fade in or fade out in your own movies. With
instructions and carrying case, $2.00. ERNEST
M. REYNOLDS, 165 E. 191st St., Cleveland,
Ohio.
■ VICTOR 3-T turret camera, three lenses,
Meyer Wf/l.S, Wollensak 1" f/3.5, Goerz 4"
f/4.5, Goerz Reflex Focuser, filter and leather
case. Model 3 Victor projector with special
rheostat (No. 10), lamps, etc., all in carrying
case. All equipment in excellent condition for
$190.00. C. J. GOGULSKI, 653 Stocking Ave.,
Grand Rapids, Mich.
■ SLIGHTLY USED, $350. Capitol automatic
16mm. movie projector for window display ad-
vertising. Price $1"50.00 or will trade for used
movie camera. Prefer Eastman Model K. J.
BIALLAS, Financial Center Building, Oakland,
Calif.
■ SUPER SPEED, slow motion camera (Bell &
Howell) 128 frames per second, with case, no
lens, 1932 model. Never used, list $200.00.
Sacrifice $110.00. SCHULZE, 150 W. 55th St.,
N. Y. C.
■ BEST IMMEDIATE cash offer takes two
16mm. Ampro sound projectors, amplifier, 200
ft. extra cables, 6x8 screen. B. A. J., 725
Genessee V. Tr. Bldg., Rochester.
■ 1 DE VRY Cinetone (Industrial Model) com-
plete w:th tubes, amplifier & speaker, $235.00
(demonstrator); 1 Victor 5G Animatophone,
projector, pickup and turntable only, $200.00,
demonstrator; 1 Pekoscope projector (new)
$15.00; 1 Eastman model C and case (used)
$18.00; 1 Eastman model A (used) $35.00; 1
De Vry model B motor drive model (new)
$15.00; 1 Eastman Cine-Kodak B 6.5, $18.00;
1 Ansco-Risdon with case (new) $18.50. SCRAN-
TON HOME MOVIES LIBRARY, 316 N. .
Washington Ave., Scranton, Pa.
■ CINE-KODAK K, f/1.9, also self threading
Kodascope, equipped for Kodacolor, 1931 models.
Retailed at $461.00, my price, $245.00. Guaran-
teed. K. M. JOHNSTON, Fairbury, Nebr.
■ BELL & HOWELL projector, 200 watt, round
base, with case and pilot light, $80.00; one
lens, Cooke telephoto 3J4" with filter and case,
$52.00. No reasonable offer refused. The above
is in excellent condition. O'BRIEN, 716 Ren-
kert Bldg., Canton, Ohio.
BALL 16MM. film at reduced prices. Minia-
ture cameras taking 16 pictures on 25c film,
$2.85. Ask about free trial. Send for bargain
list. CINECRAFT CO., 80 Boylston St., Bos-
ton, Mass.
■ SPECIAL SALE of items— used only for
demonstration — like new. B & H Film Editor,
complete, $24.00; B & H combination rewinder
& splicer, $8.50; B & H splicer, $4.50; B & H
film cleaner, $8.00; B & H block letter titler
outfit, $4.50; B & H Photometer with case,
$12.00; 36"x48" Willo beaded screen in case,
$10.00; Marshaloptic glass screen, H"xl4" for
rear projection-table stand, $27.50; Dremophot
exposure meter, $3.50; Dist meter for measuring
distance, $4.00; W title board and 200 assorted
letters, $5.00; B & H character title writer,
$20.00. WILLOUGHBYS, 110 W. 32nd St.,
N. Y. C.
EQUIPMENT WANTED
■ WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
FILMS FOR RENTAL OR SALE
■ 35MM. NEGATIVE fresh Eastman and Du-
pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75 each.
Sept rolls, 1 dozen, $3.00. Also lengths from
50 ft. to 400 ft., at prices ranging from 1 */£ to
2%c per foot. WARRANTED FILMS, INC.,
729 Seventh Avenue, N. Y. C.
fl Big Trees of Yosemite, 200 ft., 16mm. price
$12.00. On the Waves at Waikiki, 150 ft., price
$9.75. GUY D. HASELTON, 7901 Santa Mon-
ica Blvd., Hollywood.
■ PIXY PICTURES (25 ft.) 16mm. short sub-
jects complete with leader, title and metal reel,
all new film. $.75 each, three for $2.00. Send
for list. Also many 100 ft. travel-scenics at
$4.50. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
■ 16MM. FILM RENTAL LIBRARY. Service
coast to coast. Scores of excellent subjects
available as low as 72c per 400 ft. reel per
week. No membership charge. Complete details
and descriptive catalog free. USED 16mm.
FILMS, comedies, scenics, novelties, priced from
$2.25 per 100 feet. Majority ef films in original
cartons and in new condition. Big lists free.
EASTIN FEATURE FILMS, Galesburg, 111.
FILMS FOR EXCHANGE
■ EXCHANGE. THIS LIBRARY WAS THE
FIRST to reduce the price of exchange to $1.00
for 400' films and maintain its strictly HIGH
CLASS SERVICE. EXCHANGE PRICES:
400' reel, $1.00; 200' reel, $.50; 100' reel, $.25.
Return postage required. EVERY REEL SENT
OUT CARRIES A GUARANTEE of 100%
SATISFACTION. QUALITY HAS NO SUB-
STITUTE. Ask for list No. 22. CINE CLASSIC
LIBRARY, 1041 Jefferson Ave., Brooklyn, N. Y.
■ JOIN FILM CLUB. Receive new films weekly
and FREE films regularly. FILM CLUB, Box
681, Kingston, N. Y.
■ ORGANIZING national print and film ex-
change for Members. Prompt exchange assured.
Send material and requirements with only $1.00
Charter Membership fee. ASSOCIATED SER-
VICE BUREAU, 92 Liberty Street, New York
City.
TRADING OFFERS
■ SHOTGUNS, target pistols, rifles and other
good firearms accepted in trade on motion pic-
ture and photographic equipment. Authorized
Eastman, Bell & Howell, Victor, Rhamstine,
Simplex, Pathe-x, DeVry, Leitz and Stewart-
Warner dealers. NATIONAL CAMERA EX-
CHANGE, 5 So. Fifth St., Minneapolis, Minn.
■ WANTED TO EXCHANGE, Eastman model
B, 1/9 lens for Eastman Model K with no lens.
C. W. HAMMOND, 2221 Webster St., Oakland,
Calif.
MISCELLANEOUS
H PRINT your own movie titles, stationery,
bookplates, Christmas cards, pamphlets, linoleum
blocks, etc. Junior Press $5.90, larger $11, ro-
tary $149; print for others; easy and interesting;
rules sent. Write for catalog of presses, type,
paper, etc. KELSEY COMPANY, M-50, Men-
den, Conn.
rule for short signs does not work out
on longer ones giving historical facts.
Set up the camera on the tripod, close
your eyes for a few moments, opening
them as you start the camera, read the
sign aloud slowly and stop the camera
immediately you finish reading.
Even a slight study of composition
will be worth the effort. At least re-
member to include some kind of fore-
ground in those long shots or you will
be disappointed with the screen results.
Sometimes there is a tendency toward
far too many long, non action scenes of
the mountains. It is particularly evi-
dent in the films of those who normally
live in a flat country. This tendency has
been called "mountain madness." Re-
sist it or it will overcome your movie
judgment, especially just after the high
tops are powdered with the first snow
of the year. You will stop at every turn,
shooting cliffs, dugways and all man-
ner of trees with the towering white
peaks in the background. Let this be a
warning to break such scenes with ac-
tion. This can be secured in various
simple ways. For instance, the noon
camps, usually mere picnic lunches by
the side of the road, can supply a pleas-
ing break in a scenic study. Take a shot
of your companion as he scrambles
down to the white water stream below.
Water is a live and ever pleasing subject
and closeups, the very close closeups,
will bring the delighted comments from
your audience this winter. Also shoot
one of these just against the sun with
the water falling and swirling around a
rock; the dancing points of light will
fascinate you.
Featured releases
B This department is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examitted by Movie Makers.
■ H. C. Film Service, Detroit, Mich. Down
On The Farm, Niagara Falls, Boats Of The
Great Lakes, Animals Of North America and
Fast Flying are 100 foot subjects recently add-
ed to the Hazen Coon listing.
■ Haselton, Guv D., Hollywood, Calif. Tame
Wild Life Of The Yosemite, 375 ft., is now
offered by the maker of Big Trees Of The
Yosemite, 200 ft., and On The Waves At Wai-
kiki, 150 ft.
■ Kodascope Libraries, New York City. Boobs
In The Woods, wth Harry Langdon; Jubilo, Jr.,
with Our Gang; and Mama Behave, with Char-
ley Chase, are the featured offerings of this
well known library for August.
■ Mogull Brothers, New York City. Barber's
Wife, Hot Cakes, Two Bad Ones, Barnyard
Romance, Deep Stuff and Fun In A Pullman,
each 400 feet long; Pushing Horse, Exploding
Volcanoes, Fancy Diving, Bootlegger's Special,
Boxing Kangaroo, Cuban Rhumba and Jap Top
Spinner, each 25 feet long; a 100 foot film,
Cocktail Time In Cuba, are listed in the recent
additions to the library service of this Bronx
dealer.
| Willoughbys, New York City. Willogram
Productions feature Gene Sarazen in Golf and
Bill Tilden in Tennis, each in four 100 foot
reels. They also offer a series of 100 foot films,
The Rodeo, Racing Whippets, Monkey Shines,
Kids And Pups, Daring Feats, Animal Tricks,
Five Modern Samsons and Charlie Chaplin in
The Turkish Bath, A Hot Spot, All Wet and
The Sleepwalker, as the latest additions to a
large list. A new catalog is available.
MOVIE MAKERS
361
CloseUDS — What amateurs are doing
• Still a true amateur in spirit, Burton Holmes has set out on his fortieth trip
around the world, following the path he took on his first venture more than forty
years ago. A protracted visit to the island of Bali, D. E. I., will be the feature of
this voyage to which the veteran movie maker and traveler refers as his jubilee trip.
■ Paul Hugon, who writes for Movie Makers from Hollywood and is the author of
Plane Filming in this issue, was one of the pioneers of motion pictures. Associated
for many years with Pathe in Paris, London and New York, he directed feature
productions until, in 1914, he took charge of newsreels on both sides of the Atlantic.
He has since
directed for Para-
mount and re-
cently he has been
writing and edit-
ing at Universal
and other studios.
He is the author
of a number of
books on linguis-
tics and psychol-
ogy. His early
background as a
teacher — from an
American Indian
school to an Eng-
lish college — as a
newspaper man in
European capitals
and his devotion
to photography as
a hobby account
for his knack of
expounding tech-
nical points in un-
derstandable style.
Andre LaVarre
Cine veteran starts
fortieth adventure
in picture hunting
■ An amusing and well photographed film of
his law office is the recent achievement of Olin
Potter Geer, ACL, in New York City. The
picture shows the arrival of partners and staff
in the morning, something of the daily routine
and ends with a delightfully burlesqued con-
sultation. The ease with which Mr. Geer has made the highly successful interior
scenes suggests a similar subject for other amateur movie making business men.
■ The Amateur Cinema League was happily represented in the First Catalonian
Exhibition of Amateur Cinematography, recently sponsored by the Central Tourist
Bureau of Catalonia, in Barcelona. In the avantguarda section, Francisco Mala-
garriga Miralbel. ACL. placed The Oval Portrait, from the story by Edgar Allan
Poe. Montserrat, an allegorical film; The Deserted Island, a talkie; The Beautiful
Dance, a study of la sardana, a native folk dance, were presented in other sections
by Delmir de Caralt, ACL.
■ A Study In Reds, that women's club film of a sovietized America, has been
successfully completed and the club, a very pillar of society in its community, has
been made safe, by the experiment, for Democracy. The Five Year Plan called
for the production of ten eggs a day, so that there was none left for the onetime
owner of the chickens; children seemed to get mixed on their return from the
communistic nursery; and the police ate all the tidbits from the workers' lunches,
so that in the end the good ladies of the club returned contentedly to the stultifying,
but more reassuring, banalities of private ownership. Miriam Bennett, ACL, of
Wisconsin Dells, was the director and cameraman of this reversal of the customary
Sovkino drama.
■ On the grounds of the Mormon Temple in Salt Lake City there stands a monument
to sea gulls, erected by grateful citizens in memory of a time when their entire
harvests were saved from a plague of grasshoppers by these common birds. Such
is the climax of a story of sea gulls now being filmed by Riley Hess, ACL, of
Ogden, Utah. Earlier scenes will picture the thousands of gulls which gather on
Bird Island, in Great Salt Lake, and will present their habits in some detail.
Cin'eKodal$
EASTMAN
Home Movie
Camera $29=^
The new Cine-Kodak
8 is priced within the
reach of everyone.
This remarkable
camera cuts film cost
almost two-thirds. It
has features that are simplified, making
it efficient and inexpensive.
See it and some of its sparkling movies
here.
Demonstrations from 8:30 to 5:30 daily.
ifl Projectors $22.50 to $75.00
CULLEN
PHOTO SUPPLIES SINCE 1882
12 MAIDEN LANE
NEW YORK CITY
16MM. TITLES
Made to please critical users.
We will make sample title, "Photography by (your
name)" for 25c.
Or purchase from us a SIMPLEX FADING
GLASS, price $2.00, and receive 2 free titles, each
8 words or less.
We also offer free titles with Reel Packs and
Electrophots.
See advertisements in Movie Makers for details
of these accessories.
Member ACL
We do positive printing and developing
J- C. HAILE & SONS
Motion Picture Dept.
215 Walnut St. Cincinnati, Ohio
Tame Wild Life of Yosemite
375 feet, $22.50
BIG TREES OF YOSEMITE
100 feet, $6.00 <£ 200 feet, $12.00
ON THE WAVES AT WAIKIKI
Featuring the dog surfboard king. 150 feet, $9.75
GUVD.HASELTON"1" s,a,M.S" ",J
AMATEURS!
Keep step with the latest developments in
Cine and Still photography. Visit our cen-
trally located store. We buy, sell, and ex-
change cameras.
KLEIN & GOODMAN
18 S. 10th St. Phila.,
Pa.
Distinctive Printed Titles
Plain and original art backgrounds, 25c upward.
Pictures, maps and drawings copied. Samples
gratis. Correspondence invited. Personal at-
tention given your cine and title problems.
Production of professional 16mm. industrial,
dental and travel films.
w.
814 N. Meridian St. Indianapolis, Indiana
Lincoln 1207
STUART BUSSEY
The Centre
of Sydney
The Social Life of the Second City of
the British Empire revolves around
this famous hotel. Delightfully con-
venient to shops, theatres and busi-
ness houses. Magnificently illustrated
booklet for tourists free on request.
Wireless Address : Austraotel, Sydney.
THE AUSTRALIA HOTEL.
The Hotel of the Commonwealth
Sydney, N.S.W., Australia.
362
AUGUST 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Carry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink & Son, Sliattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive.
Fresno: Potter Drug Co., 1112 Fulton St.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Hollywood: Bell & Howell Co., 716 N. LaBrea
Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
Hollywood Film Enterprises, Inc., 6058 Sun-
set Blvd.
Huntington Park: Huntington Park Pharmacy,
6101 S. Pacific Blvd.
Long Beach: VV instead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marsh.itz Optical Co.. 518 VV. 6th St.
B. B. Nichols, Inc., 731 S. Hope St.
Schwabacher-Frey Stationery Co., Box 1347,
Arc. Annex.
Tappenbeck & Culver, 10958 Weyburn Ave.,
Westwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Monrovia: Cliff's Photo Art Shop.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
Richard Fromm Photographic Service, 965
S. Fair Oaks Ave.
F. W. Reed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop. 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fiftli St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Gearv St.
Phil Lasher, Ltd., 300 7th St.
San Francisco Camera Exchange. 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
SaN Tose: Webb's Photo Supply Store, 66 S.
First St.
San Rafael: Webb & Rogers, 4th and B Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: Camera Shop, 800 State St.
J. W. Collinge, 1127 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
I'effer Music Co., 40 S. California St.
Ventura: Bartlett Co., 412 E. Main St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Ford Optical Co., 1029-16th St.
Haanstad's Camera Shop, 404-16th St.
Grand Jlnction: Dean's Camera Shop, 639
Main St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Heim's Music Store, Inc., 221 Main St.
Hartford: Harrison Harries, 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg.. 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: H. & W. B. Drew Co., 46 W.
Forsyth St.
McDaniel Gift Shop, 21 W. Forsyth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
Miami Beach: J. R. Willis, 737 Lincoln Road.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
Pocatello: Cook Drug Co., 333 W. Center St.
ILLINOIS
Chicago: Associated Film Libraries, Inc.,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 W. Washington St.
Post Office News Co.. 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermilion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Freeport: Emmert Drug Co., 15 W. Stephen-
son St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort' Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd & Jefferson
Sts.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing Inc., 421 Sixth St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St.
Dadmun Co., 39 Washington St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Movie Service, 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Worcester: J. C. Freeman & Co., 376 Main St.
Harvey & Lewis Co., 513 Main St.
L. B. Wheaton, 368 Main St.
MOVIE MAKERS
363
MICHIGAN
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co.. Dept. 290.
E. B. Meyrowitz, Inc.. 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St,
Grand Rapids: Camera Shop, Inc., 16 Monroe
Ave.
Photo Service Shop, 44 Monroe Ave.
Jackson: Royal Film Service, 125 Michigan
Ave., W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc., 825 Nicollet Ave .
National Camera Exchange. 5 S. Fiftli St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas Citv: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St
Hanley's Photo & Radio Shop, 116 E. 10th St.
Plaza Camera Co.. 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
MONTANA
Billings: Midland Drug Co., 23 N. 27th St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic Citv: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersev City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store. Market and Broad.
T. C. Reiss, 10 Hill St.
Schaeffer Co.. 103 Halsey St.
I'aterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Plainfield: Mortimer's Photographic Stores, Inc.,
317 Park Ave.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
West Englewood: C. M. Vanderbilt, Inc., 374
Briarcliffe Rd.
West New York: Rembrandt Studio, 526 "d"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadway.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co..
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 305 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 145 E. 60th St., nr. Lexington
Ave.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
Abe Cohen's Camera Exchange, 120 Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
CULLEN, 12 Maiden Lane.
Uavega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop. Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Call & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
wav.
Joseph P. Hackel, Rm. 1919, Chanin Bldg.,
122 E. 42nd St.
Hecker's Camera Store, 1519 Amsterdam Ave.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician. Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
Luma Camera Service, Inc., 302 W. 34th St.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz, Inc., 520 Fifth Ave.
MOGULL BROS. ELECTRIC CORP., 1944
Boston Rd.
New York Camera Exchange, 109 Fulton St.
Newman's Camera Shop, 1197 Sixth Ave.
Parker and Battersby, 146 W. 42nd St.
Pickup & Brown, Inc., 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
Frank Tanham & Co., Inc., 9 Church St.
WILLOUCHBYS, 110 W. 32nd St.
Pelham: Kolb & Crawford, 129 Wolf's Lane.
Poughkeepsie: Marshall's Gift Shop, 341 Main
Rochester: Marks & Fuller Co., 36 East Ave.
St.
Sibley, Lindsay & Curr Co., Kodak Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Lincoln Photo Service, 1136 Lincoln Ave.
White Plains: Cooper Bros. & Co., Inc., 56
Main St.
Yonkers: Joseph F. Blatzheim, 4-6 Riverdale
Ave.
NORTH CAROLINA
Charlotte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 N. Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard St.
Canton: Roth & Hug Co., 539 N. Market Ave.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416^2 Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Dept. 90, Public Square.
Home Movies Co., 1501-7 Superior Ave.
Columbus: Capitol Camera Co.. 7 E. Gay St.
Columbus Photo Supply. 62 E. Gay St.
Don McAlister Camera Co., 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams, 2028 E. Third St.
Findlay: Day Radio Shop, 111 E. Sandusky St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: V. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Cottage Grove: Nelson Electric Shop.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept., Fifth,
Washington & Alder Sts.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton : Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisbukg: James Lett Co., 225 N. 2nd St.
Johnstown: F. W. Buchanan, Dibert Bldg.
Johnstown News Co., 115 Market St.
Lebanon: Harpel's, 757-9 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio, 20th and Chestnut Sts.
KLEIN & GOODMAN, 18 S. 10th St.
MacCallum Stores, 1600 Sansom St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh : Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott &' Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin : Jones Hardware Co., Sporting Goods
Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Pawtucket: Thomas N. Simpson, Broadway and
Exchange St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Westcott, Slade & Balcom Co., 95-99 Empire
St.
TENNESSEE
Chattanooga : Englerth Photo Supply Co., 722
Cherry St.
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Shop, Inc., 113 W. 6th
St.
Chas. G. Lord Optical Co., 704 Main St.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks. 119 W. Holly St.
Pasco: New Pasco Drug Co.
Pullman: R. R. Hutchison, Hutchison Bldg.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
Lowman & Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. C,
707-11 Sprague Ave.
(Continued on page 364)
364
AUGUST 1932
(Continued from -page 363)
Joyner Drug: Co., Howard & Riverside Ave.
Tacoma: Eastman Kodak Stores, Inc., 910
Broadway.
Walla Walla: Book Nook Drug & Stationery
Store.
Yakima: Yakima Book & Stationery Co., 19-21
South Second St.
WEST VIRGINIA
Charleston: S. Spencer Moore Co., 118 Capitol
St.
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Fond du Lac: Huber Bros., 36 S. Main St.
I. A Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 N. Milwau-
kee St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosii: Coe Drug Co., 128 Main St.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon : Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (Soutli Africa) Ltd., "Ko-
dak House," Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (Soutli Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe : Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sidney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harrington's, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
West A ustraha
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
CANADA
Alberta
Calgakv: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St., W.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave. at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St.,
W.
886 St. Catherine St., W.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., 1440 St. Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393
Nanking Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cynecam-
eras, Senovazna, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Cohn, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 18-19 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines. 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars. 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate St.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd.,
119 Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Kodak, Ltd., Kingsway.
Sands, Hunter & Co., Ltd., 37 Bedford St.,
Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallme-yer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 Bond St.,
47 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., Dept. 109, 400 Ox-
ford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak, Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
HOLLAND
Amsterdam: Capi. 115 Kalverstraat.
Foto Schaap & Co., Spui 8.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Broerstraat 48.
Rotterdam: Bolle-meijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz U-4.
INDIA
Ahmedabad: R. Tolat & Co., Bawa's St.,
Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road, Ballard Estate.
Calcutta: Army & Navy Cooperative Society,
Ltd., 41 Chowringhee St.
Photographic Stores & Agency Co., 154
Dhuramtolla St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Shueisha, 25 Kitahama 4 Cliome,
Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini. S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd.. 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd.. 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
294 Lambton Quay.
Te Aro Book Depot, 64 Courtney PI., Gas
Company's Bldg.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A/S, Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare Si Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine. l0i'/2 St. Vincent
St., C. 2.
Kodak, Ltd.. 46 Buchanan St.
J. Lizars, 101 Buchanan St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol 4
Avenida Conde de Penalver 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 39 High St.
SUMATRA
Medan : Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Freiestrasse 74 (So-
deck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co., Bahnofstr, 61.
VENEZUELA
Maracaibo: MacGregor & Co., Apartado Postal
No. 197.
S3 a year (Canada, $4.00,
Foreign, $3.50); 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
MOVIE MAKERS
365
Practical films
[Continued from page 344]
the growing of citrus fruits; fertilizers
in the growing of truck crops. The pro-
duction and editing of the film has been
under the direction of C. T. Melvin,
ACL, vice president of the company.
FREE FILMS
These films, on 16, un-
less 35mm. is specified,
are loaned free exceft for -payment of postage.
Requests should be addressed to the Amateur
Cinema League, Inc., 105 W. 40th St., N. Y. C,
and films desired me?itioned by titles. Re-
quests on receipt, are forwarded to distributors
who get in touch with applicants and make book-
ing arrangements. Specific dates catmot be
promised until the applicant hears from the dis-
tributor. Do not send postage with requests ;
when it is required, the distributor will notify
the applicant. Of course, films should be returned
postpaid. Some films are limited to groups, in
which cases it is so stated in the reviews. In
applying for films limited to groups, the type
and probalde size of the audience must be men-
tioned. Films are not available outside of the
United States, unless so slated. Any amateur may
apply for films reviewed as this service is not
limited to Amateur Cinema League members.
■ Highlights Of Hawaii, two reels, 16
mm., reviewed through the courtesy of
the Hawaii Tourist Bureau, presents the
outstanding scenic and entertainment
attractions of the Hawaiian Islands,
along with views showing the commer-
cial and domestic life of United States
citizens who make their homes in the
Territory. Although devoted particu-
larly to Honolulu and the island of
Oahu, the film does not neglect the
three other major islands of Kauai,
Maui and Hawaii. A delightful subject.
■ Routing Rodent Robbers, two reels,
16 and 35 mm., reviewed through the
courtesy of the United States Depart-
ment of Agriculture, shows the destruc-
tion brought to farm and ranch prod-
ucts by the prairie dog and the ground
squirrel, and how the government is
working to control these pests. Avail-
able to groups.
Amateur clubs
[Continued from page 342]
for this work with study films which
included a reel of microscopic Kodacol-
or. Mr. Woolley demonstrated, also, a
new device for amateur stop motion
filming and screened test films which
were climaxed by stop motion studies
of flowers in Kodacolor. Unusual reels
of wild life, especially of pheasants and
other birds, were presented by C. V.
Bracher, ACL, of the Oregon Game
Commission, and this particularly
popular program was concluded with
the screening of members' films.
City films ■ City filming was the
chief subject for study
at a late meeting of the Kansas City
Cinema League, held in the rooms of
the Kansas City Athletic Club, where
there were screened the films, City Of
Homestead, Pa., through the courtesy
of Ralph M. Miller, ACL, of that city,
and City Of Chicago, through the cour-
tesy of the Chicago Cinema Club. A
discussion of filters, by Calvin Wheat,
rounded out this program which was in
preparation for the club's city filming
contest.
The first year ■ Tlle Cinema Club
of San Francisco
completed its first year of successful
operation at a recent meeting ad-
dressed by Sigismund Blumann, editor
of Camera Craft, and by Allen Young
of the same magazine. Mr. Young had
served as temporary chairman of the
group during organization. 16 mm.
sound on film was demonstrated in con-
clusion of this pleasant program. The
scientific section arranged for the club
a lecture and demonstration of cine-
micrographic and stop motion appara-
tus at which program films were made
to be screened at a later meeting. The
9.5 mm. section is at work on a com-
edy to be filmed by its members.
Emulation ■ Informal contests, for
first and second prizes
of a one hundred and a fifty foot roll
of film, have been popular at late meet-
ings of the Cine-Still Club of Philadel-
phia, Pa., with an average of eighteen
members submitting films at each gath-
ering. Previous programs have present-
ed such interesting items as a discussion
of Kodacolor by Paul Kelley, a lighting
demonstration based on the use of
Photoflood lamps, a demonstration of
16 mm. sound on film and the screening
of A Trip Through Filmland and Eyes
Of Science.
Maine SUpper ■ Members of the
Maine Amateur
Cinema League were entertained at
supper by the club secretary, Ruby
Wescott, ACL, preceding the program
of a recent meeting held on Peaks
Island, Casco Bay. E. Alton Bicknell
projected travel films and Miss Wes-
cott showed two reels of her film study
of the island. Recently organized, the
Maine club closed its charter at this
meeting with more than fifty members.
At a previous meeting, bylaws were dis-
cussed and adopted and Harvard M.
Armstrong showed his collection of
Kodacolor scenics and sport films.
More members ■ At the June
meeting of the
Metropolitan Motion Picture Club, in
New York City, the program commit-
tee was instructed by the membership
to investigate the possibilities of special
and private club rooms for the society
in the coming year. During the past
year, of which this was the last meet-
ing of the season, the club has been
gathering monthly in the exhibition hall
of the Camera Club of New York,
through the kindness of that veteran or-
GOERZ
KINO-
HYPAR
FOCUSING LENSES
FOR THE
SIMPLEX POCKETTE CAMERA
// 2.7-1
offers more than 50% increase in speed —
unlimited increase in efficiency to users of
the Simplex. Provides possibility of close-
ups up to 3 ft. $35.
//3-2"
for long distance work and closeups in
sport, travel and general cinematography
with the Simplex Camera. $45.
Slight charge for fitting
Your regular f/3.5 lens can be made inter-
changeable with either of these lenses.
Booklet on request
C. P. Coerz American Optical Co.
317 EAST 34th ST., NEW YORK CITY
16MM.
*v\
35MM.
Illustrating Berndt's adapta-
tion of 400 ft. magazines, elec-
tric motor drive and reverse
take up to a Cine-Kodak Model
B which becomes a professional
model providing 16 minutes of
continuous action. 400 ft. mag-
azines can be adapted by Eric
M. Berndt to any camera.
Cameras, projectors and printers
built to individual specifications.
Estimates furnished on all cine-
matic requirements.
ERIC M. BERNDT
Member of the Society of Motion
Picture Engineers
SOUND
112 East 73d St.
New York City
RH 4-4950
COLOR
THERE'S REAL MONEY
in Commercial Photography
Fine pay. Pleasant work. Adver-
tising, business, industry need
photographers. Learn Photography
quickly, thoroughly. Ask about our
new system of individual coaching
by mail, or by personal attendance
at our completely equipped, modern
training studios. Same expert in-
structors; same effective methods in
either case. Particulars free. Write
today. No obligation, of course.
NEW YORK INSTITUTE OF PHOTOGRAPHY
Dept. I05H 10 West 33rd St. New York, N. Y.
□ Still Photography (Commercial. News, Portrait)
and Photo Finishing.
□ Motion Picture Photography and Projection.
Name
Address
366
AUGUST 1932
BOOBS IN THE WOODS
Timid and harmless Harry becomes known
as a dangerous man. Afraid of almost every-
one, he unintentionally cows one desperado
after another, with intensely funny situations.
JUBILO, JR.
Our Gang reenacts the boyhood of Will
Rogers and his chums, while Will Rogers, as
a tramp, relates how he earned money for a
birthday present for his mother.
MAMA BEHAVE
Charley Chase, who really longs for his quiet
fireside, impersonates his sporty brother, for
his wife's amusement, with very unexpected
and hilarious results.
Kod
Lib.
ascope Lioranes, inc.
33 West 42nd Street
New York City
Subsidiary oj the Eastman Kodak Company
ganization. An extensive membership
drive is being mapped out during the
summer months by a committee con-
sisting of Annette Decker, ACL,
Charles J. Carbonaro. ACL. and Nor-
man D. Taylor, ACL. An informal con-
test, judged by the members, was won
by Mr. Taylor's A Metropolitan Revieiv,
in competition with A Trip To Jamaica,
by Sidney Moritz, ACL; An American
Mecca, by Frank J. Boylan, ACL; and
Through The Thousand Islands, by
Robert Coles, ACL.
Bridgeport ■ A discussion of "pan-
oraming" and the
screening of members' films were the
attractions of the latest meeting of the
Amateur Cinema Club of Bridgeport.
Conn. At an earlier meeting, Tell Tale
Heart from the League's Club Library
and films of the Olympic Games at
Lake Placid, made by George W. Weis-
ing, were screened and how the club's
leaders were made was demonstrated by
James Brown and Clemens Klofkorn.
After the demonstration, each member
was filmed in a characteristic pose with
the plan that this scene wou,ld imme-
diately follow his leader. The Bridge-
port Club has invited New Haven club
members to attend a program as guests.
CampUS COmedy ■ Tlle University
of California
Cinema League in Los Angeles has pro-
duced Pledges Plight, an 800 ft. comedy
of campus life. Bryant Hale was direc-
tor; Reeves Templeton, cameraman;
Clifford Stark, casting director. The
leads were played by Corrine Currey
and William Cover. In addition to its
photoplay activities, the club maintains
a newsreel department which makes
records of all important university sport
events and activities. The scenario de-
partment has prepared a script to be
put in production this month.
Brooklyn ■ Interior lighting experi-
ments were the feature
of the latest meeting of the Motion Pic-
ture Club of Brooklyn, N. Y., and, at
the preceding meeting, The Boy Me-
chanic, by Edward H. Marsh, ACL,
Ice Skating, by Niels-Eske Brock, ACL,
Cascade, by Robert M. Coles, ACL,
and H20 and Get The News, from the
League's Club Library, were screened.
Holland ■ In Holland, the Neder-
landsche Smalhlmliga has
been recently formed. An international
amateur movie contest is planned for
this year in addition to regular club
activities. Leo R. Krijn is president;
L. Blok, vice president; D. Knegt,
ACL, secretary treasurer; Dick Boer,
assistant secretary; F. Eulderink, ad-
viser; J. C. Mol, Dick Laan and M. H.
K. Franken, advisory committee.
The Amateur Film Club of the Hague
has been active in that city for more
than six months and now numbers
twenty movie makers on its roster. At a
recent meeting A. P. J. Oosterwyk dis-
cussed and demonstrated late model
projectors and members' films were
screened. M. Buis is group secretary.
In Berkeley! Tne Berkeley Ama-
teur Movie Club, in
California, has elected as officers for the
coming year, H. H. Hood, president;
W. M. Perkins, vice president; C. A.
Pease, treasurer; Dr. F. R. Burton, sec-
retary. At a late meeting there was a
talk on photography by Carol Semple
and a screening of supersensitive Koda-
color films by Harold Hock, ACL.
British amateurs
One year ■ Nearly a year old this
month, the Bournemouth
Film Club has to its credit two full
length productions. Retribution and
The Broken Swastika, as well as an
unusual film of an evening dance held
by the society. Leading parts in The
Broken Swastika were taken by Dora A.
Phillips, Rachael Terry, Alex W. Buck-
master and G. W. 0. Saul; it was writ-
ten and photographed by Robert G.
Torrens and directed by Carol Hyde.
Regular program meetings of the club
have featured Early Days Of The Cine-
matograph, a talk by A. J. Beckett; a
discussion of production problems by
George H. Sewell; a travel talk of Ja-
maica and the Azores, by J. P. J. C.
Chapman and illustrated with his Koda-
color films; the screening of scenics
and simple film stories made in Africa
by Mr. Saul.
Ready tO 20 ■ Production units of
the Newcastle and
District A. C. A. have been busy com-
pleting the preliminary work for four
short films, according to the report of
H. Wood, hon. secretary. Of these
four, two are now in production with
the following casts and staff: Doubles
Or Quits, on 16 mm. stock, played by
Frances Barnett, W. H. Tough, R. A.
Reay and T. E. Peterson; written by
Janet M. Cameron; produced by Miss
E. Taylor and G. B. Howarth; pho-
tographed by L. Bonser and E. Young-
er. ACL; Revenge Is Sweet, on 9.5 mm.
stock, played by Miss M. Forster. Miss
M. Thompson, Ruby Burns, and J. Cam-
eron, Jr., W. M. Diericx, T. E. Preston,
J. Walton and Mr. Tough; written by
Miss D. M. Graham and Mr. Cameron,
Jr.; produced by Miss Graham and Mr.
Preston; photographed by A. S. Wilson,
ACL, and G. G. Cranston. The produc-
tion of As Ye Soiv, by James Cameron.
ACL, and of Dr. Willys And Mr.
Knight, by Mr. Reay, will be taken up
later in the season.
Printed by WNU, New York
A SPLENDID example of miniature
"still" camera construction — the
finest European precision camera of
its type — this newly introduced
Kodak Pupille from the Eastman
factory in Germany. Its work, in "still"
photography, compares favorably with
that of the finest home movie camera
in cinematography.
Less than four inches long, it is equipped
with an/. 2 anastigmat lens that produces such
critically sharp negatives that generous en-
largements are readily obtainable. The ex-
YOU PAY NO TAX. The government has placed
a ten per cent tax on cameras and other articles that
you use in your leisure hours. But, as all outdoors in-
vites your Kodak, this company is not going to have
anything interfere with that invitation. It is going to
absorb the tax. There is no increase in the price you
pay for any Eastman camera.
A revolving scale shows the depth of focus obtain- The detachable range finder has its
able at any distance with various lens openings, eyepiece just beside the view finder. It
For example: with the camera focused at 13 feet, eliminates all guesswork from the gaug-
as in the illustration, and the lens operating at ing of distances, and is especially help-
f.5.6, everything within a range of 10 to 20 feet ful in focusing accurately on subjects
will be in sharp focus. close to the camera.
treme speed of the lens makes you practically
independent of light conditions — enables you
to stop almost any kind of fast action.
Kodak Pupille takes sixteen pictures, size
i3iox i9/io inches, on a roll of Vest Pocket film.
Its Compur shutter has a range from i to Vaoc
second, besides bulb and time.
Complete with/.2 anastigmat lens, Compur
shutter, carrying case, range finder, two color
filters, cable release and camera foot, Kodak
Pupille costs but $75 at Kodak dealers'.
Eastman Kodak Company, Rochester, n. y.
Quality First . . .
has made FILMO
the royal family of personal
movie cameras
IF products were given patents of nobility, Bell & Howell Filmo
Personal Movie Cameras would assuredly be rated blood royal in
their field. Just as assuredly, "Quality First" would be the motto on
their coat of arms. Filmos are sold at the lowest possible price con-
sistent with quality. But the buyers' pleasure in fine equipment and fine
personal movies is never sacrificed to make a so-called "bargain" price.
Now, as always, Filmos first must be well made, second, fairly priced.
Filmo 75 Aristocrat of pocket
movie camera. Slender enough to
fit into the coat pocket. Smart as
a well designed watch, and as
accurately made and assembled.
Cooke 20 mm. F 3.5 universal
focus lens. Takes 100 foot or 50
foot film spools. With case, only
(Including Federal $on50
tax) yy
Filmo 70-B (Not illustrated).
Superspeed camera for s-l-o-w
movies only. Famous Filmo 70
basic design, but operates at 128
exposures a second, eight times
normal speed, to analyze athletic
form or for any purpose making
s-l-o-w motion projection desir-
able. With Cooke F 1 .8 focusing
mount lens and carrying case.
(Including Federal *~,-»,x
tax) ZZO
Filmo 70-A (At right) Pioneer of
personal movie cameras — nine years
have proved its excellence. So fine
that its design has never been basi-
cally changed and so well made that
no Filmo has ever worn out. Spy-
glass viewfinder . . . what you see,
you get. Two speeds. Even simpler
than a still camera. With Cooke 1"
F 3-5 universal focus lens and carry-
ing case. (Including Fed- $-. / (\
eraltax) 141J
Filmo 70-C — lowest price ever for a
turret head camera
Same basic design as Filmo 70-A but fitted with a special three-
lens turret head. Etched finder shows correct field area for the
lens being used. Fitted with one Cooke 1" F 3.5 universal focus
lens and a case accommodating the camera with a lens as long
as 4" in place . . . New special price, for the limited quantity
on hand (model discontinued in favor
of 70-D), only (Including *.
Federal tax)
!150
Filmo 70 Morgana (Left) The new color camera. En-
ables you to make movies by the Morgana color process,
the best two color additive process yet developed. Five
speeds. Cooke 1" F 3.5 lens in focusing mount. Morgana
filter instantly removable for taking black and «_- „ _
whitepictures.Withcase. (Including Federal tax) JL y\J
B & H Eyemo The hand camera for 35
mm . field work . Seven speeds . Three-lens tur-
ret head. Variable viewfinder. Built-inspring
and hand crank drives. New electric motor
drive and 400 foot magazine, optional. Price,
(Including Federal tax . . . motor * * _ _
driveand400footmagazineextra) 4^ U
BELL & HOWELL
FILMO
Personal Movie Cameras and Projectors
Made by Bell & Howell, the world's leading manufacturers of finest
quality professional and personal motion picture equipment
Filmo 70-D The master of all personal movie cameras.
Three-lens turret head. Seven speeds. Variable viewfinder.
Critical focuser if desired, when the designation is Filmo
70-DA. In beautiful Sesamee-locked May- «--»/ —
fair case. (Including Federal tax) ^45 and up
Bell & Howell Co.,
1843 Larchmont Ave., CnTcago
Please send me additional information on Bell & Howell
Camera Model
Name
Street Address.
City.
.State.
MOVIE
Magazine of (he Amateur Cinema League, ■ ■!«..
SEPTEMBER, 1932
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc.
My remittance for $ made payable to AMATEUR
CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of this
amount, I direct that $2 be applied to a year's subscription to MOVIE
MAKERS. (To nonmembers, subscription to MOVIE MAKERS is $3
in the United States and possessions; $4.00 in Canada, $3.50 in other
countries.)
MEMBERSHIP $5 a year (CANADA $6)
LIFE MEMBERSHIP $100 in one payment
and no further dues.
Name Street
City State Country
One of the Amateur Cinema League's animated leaders is free with
this membership. Please state width you wish — 8mm., — 9'/2mm.,
— 16mm., — 35mm. SP — 32
The September service
of the Amateur Cinema
League is in readiness
IFOR DIFFERENT seasons there are different pleasures
in movie making. Back from vacations, movie makers
have hundreds of feet of pictures to be put in order for
proper projection. This happy chore is made still more agree-
able by the aids of the League. Your films need titles — and
the League has a special Title Service. Editing must round out
the continuity that was planned but that had to be amended
during filming. The Continuity Department of the League
will discuss your editing problems with you and make indi-
vidual suggestions to you. Maybe you know that something
ought to be done to improve your summer films but you are
not sure of what is needed. Send your films in, as a League
member, and have them looked over and returned with definite
suggestions about how to make them better for showing.
September is the month of make ready for the happy evenings
when you live your summer over again by the winter fireside.
Let the League help you in the preparatory work. Get the
help that thousands now have.
ive
doll
ars a vear
AMATEUR CINEMA LEAGUE, INC
105 West Fortieth Street
New York, New York, U. S. A.
MOVIE MAKERS
371
A Better Film Editor for $35
Unique Design of new
low-priced Rhamstine
Simplifies andlmproves
editing of your film . . .
actual motion as on screen . . . easier viewing with magnified
picture . . . continuous running film — no claw action . . .no loops
— simplified loading . . . easier, better splicing . . . reverse action
. . . compact, with solid, steady base . . . portable — viewing lamp
plugs in anywhere . . . 3 -tone, dull silver, chromium trim and
black crackle finish.
Only the new Rhamstine* Film
Editor combines ALL of these
advantages in one complete unit.
Note (above) the easy, natural
position in which you view the
film . . . and in addition, it has
screen motion! Study the picture
at the right and note the quick
and sure method of splicing.
The Rhamstine* Film Editor re-
moves all the awkwardness of
old-fashioned editors ... no cost-
ly extra parts to buy— it comes
complete ... no special work
bench — work wherever there's
an electric outlet . . .
ELECTROPHOT photoelectric
EXPOSURE METER
picture work, color sorting machines,
photometry, etc. ELECTROPHOT is a
fully automatic exposure meter for record-
ing light conditions. Eliminates time-
wasting "squint tube" guessing and human
error. Simply sight it and press a button.
Lens setting is shown on the dial, gradu-
ated in stop numbers of the "f" system.
Saves film. Simplifies exposure problems,
indoors or out. Ideal for quick shots,
color filter and other specialty work. Fits
in camera case in place of film roll, or
easily carried in pocket. See it at your
dealer's or write direct for folder. Comes
complete with its own genuine leather
carrying case in U. S. only $30.00.
Also STILL
camera model.
ELECTROPHOT uses the photoelec-
tric cell, developed on proved prin-
ciples employed in professional talking
Know the pleasure of editing your
own films, quickly and inexpen-
sively— and doing a better job of
it — with the Rhamstine*. It is
easy to use, has no complicated
mechanism and its few moving
parts have been made utterly
simple.
See your dealer or send for de-
scriptive folder on this remark-
able Film Editor which sells at a
new low price for a high quality,
guaranteed unit of only $35.00
complete in the U. S.
Products of
1THOS. RHAMSTINE*
Manufacturer of Precision Electrical Apparatus
for 14 years.
501 E. Woodbridge
Detroit, Mich.
372
SEPTEMBER 1932
QfterQlt
to2)emonstri
NEW, IMPROVED
SERIES MODEL 10
VICTOR 16MM PROJECTORS
WHATS
A CLAIM?
ITere, for instance, is Victor with the New Model 10
Series of the Master 16 m/m Projector .... New Intense
Illumination that is really a revelation .... New Beauty
.... New Exclusive Features that have real value and mean'
ing .... smoother, more brilliant, more quiet performance!
Yet, all that Victor has actually incorporated in
these splendid new Model 10 equipments, others
have, at various times, claimed to possess.
So, what's the use of making claims? The only thing
left is to suggest that you SEE these New Victors
.... along with other makes. Then compare beauty;
compare features, illumination, performance; com'
pare values! Use your own eyes and ears and
judgment and Victor will have no fear of the con'
sequences
Write for Literature.
to see the CAMERAS that
are everywhere recognized as
the Greatest Values in i6mm
history .... VICTOR MODELS 3 6-5
Victor Animatograph Corp.
DAVENPORT, IOWA, U.S. A
Represented by the Better Dealers Everywhere
373
©C1B 164544
RUG
r 30 1^32
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Calhoun of R. I. Ncsmith and Associates
Contents
Volume VII September, 1932 Number 9
Cover design Conrad Marcraleigh
A recipe, editorial 377
Set it to film Lynwood M. Chace 379
Autumn Kodacolor Harris Tuttle 380
An analysis of filters S. A. Korff 381
Riding in advance Theodore G. Rockwell, A CL 382
Let Rover do it Cyril Presgrave, A CL 383
The clinic Russell C. Holslag, ACL 384
Filmer up ! Julien Berger 385
New viewpoints Paul D. Hugon 386
Step up, now, everybody! Arthur A. Hebert, Jr., ACL 387
Amateur clubs James W. Moore, ACL 388
Why a busy man films Olin Potter Geer, ACL 389
Movie Makers "Why I Film" Contest 389
Practical films 392
News of the industry 394
Closeups 398
Free films 405
Around the world with Movie Makers 406, 408, 409
Featured releases 407
Editor
ARTHUR L. GALE
MOVIE MAKERS
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign $3.50); to members of the Amateur
Cinema League, Inc., $2.00 a year, postpaid (Canada $3.00) ; single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August 3, 1927, at the Post Office at
New York, N. Y., under Act of March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and Publication Office: 105 West 40th
Street, New York, N. Y. Telephone PEnnsylvania 6-6836. Advertising rates on application. Forms
close on 10th of preceding month.
RUSSELL C. HOLSLAG Advertising Manager
JAMES W. MOORE Assistant Editor
FREDERICK G. BEACH Technical Assistant
ALEXANDER de CANEDO Art Editor
374
SEPTEMBER 1932
+ Make your film into a "movie" +
B & H Combination Re-
winder and Splicer — This
outfit comes complete with
geared rewind, reel support,
regular B & H Splicer, and ce-
menting equipment. Mounted
on neat crackle-finish base. $14.
Get "impossible" shots with the
new Cooke 1-inch F 1.3 Lens
for Filmo 70 Cameras a a *
B & H Film Editor— A com-
plete editing outfit, enabling
you to examine film illuminated
1 and magnified, to cut out un-
. wanted frames and scenes, and
to splice in your titles. Has two-
way geared rewinder. Complete
outfit, $40.
B & H Splicer — You can make
a splice in mere seconds witb
this efficient device, which in-
cludes scraper, cement, and
water bottle. Gives you the
famous B & H diagonal lap, of
course. $7.50.
The new Cooke 1-inch F 1.3 speed
lens, now available, has the fast-
est working speed yet satisfactor-
ily attained in a Filmo 70 Camera
lens, and offers in addition a good
degree of sharpness. Price $75-
Used with supersensitive film, the
new F 1.3 lens, one and nine-
tenths times as fast as the speedy
F 1.8, will produce properly ex-
posed pictures under light condi-
tions that would formerly have
been considered impossible.
With Telephoto lenses your Filmo
gets more than you see a a a a
The possibilities of your Filmo and of interesting movies are
vastly increased with telephoto lens equipment. The crucial
football play is brought up where you can see and analyze it.
The neck-and-neck race down the stretch has its full close-up
thrill. The scenic beauty of far away mountains appears in all its
glory. Such long distance photography is truly satisfac-
tory only with such finely made lenses as Cooke tele-
photos, choice of most -professional cinematographers.
Available -in sizes from the 2-inch F 3-5 at $60 to the
6-inch F 4.5 at $95-
The eye may be fooled but
not the B & H Photometer
"Whenever the stop indicated by the Photometer was
used, I got perfect exposure. When occasionally I doubted
the reading of the meter, I found that my judgment was
in error." That's the testimony of W. S. Kidder of
Kalamazoo, Mich., amateur movie-maker with many
years of experience, on the perfection of the B & H
Photometer as an exposure guide. With it, you get cor-
rect exposure readings in 10 seconds. Easy to operate as
a flashlight. Model A is for movies. Model B for stills.
Price, $17-50; with case, $20.
it
- REG-
I c "
= cr i-
| O
t- 4:
- a_
32 -
8 ;
1 6 3
5.5
4 '=
15.
2.* '
: 2.5 .
1.6
1.5 -
- 32
■**!
- 4 i
. 1 t
?
."T |
; -h
--A
Scale of Model
B for stills
Lj-+"\
Model A Photometer
for movies
BELL & HOWELL - FILMO
Bell & Howell Co., 1843 Larchmont Ave., Chicago; New York, Hollywood, London (B. & H. Co., Ltd.,) Est. 1907
PERSONAL MOVIE CAMERAS-PROJECTORS- ACCESSORIES
Only Bell & Howell supplies, for personal movie cameras, the world-famed Cooke lenses ... the lenses preferred by experienced photographers
everywhere. Only Filmo Cameras have Cooke lenses as standard equipment. Write for full information, stating your requirements and objectives.
MOVIE MAKERS
375
An Improved Filmo Projector
. . and at a Lower Price
The new Model M $150
1
£
NOW, more advantages than ever come to you in
a Filmo Projector, and at greatly reduced cost.
The new Filmo Model M Projector at $150 gives you
every precision mechanical feature of Standard Filmo
57 design, plus three striking improvements:
(1) A new projection lamp gives you full 300-watt illumina-
tion, 20 percent more than the 250-watt lamp. At $7.00
extra it may be had with 400-watt lamp.
(2) Projector is mounted on a new square base giving great
stability; base forms bottom of carrying case when Pro-
jector is being carried.
(3) The Model M is a non-folding Projector. The machine
is fully set up, all ready for service whenever you re-
move case.
Review these Filmo features, as proof that nowhere
can you get so much for your money as in the new
Model M at the new low price: (a) steady, flickerless
pictures due to the exclusive Filmo 9-to-l mechanical
movement (b) powerful direct lighting system (c)
automatic framing (d) reverse movement at touch of
finger (e) still projection of any frame (f) interchange-
able lenses (g) forced air cooling system (h) can be
equipped for Kodacolor (i) both geared hand rewind
and automatic belt rewind (j) tilt-screw for quick
centering on screen (k) true, nine-year-proved Bell
& Howell quality, long life, and dependability.
The new Filmo Model M Projector may also be had
without reverse lever and without starting clutch
at $135- See your dealer today or write for complete
literature.
What You See, You Get— with Filmo
Mmr- d
• The Filmo yo-D Camera is the undisputed master of all personal €SIV^
- . "■ ®t|J '"oviecameras.lt has a three-lens turret head, enablingyou to switch I ,/\ !||^
from one lens to another in an instant. Its seven film speeds give you
the slowest of s-l-o-w movies and the fastest, too. Its variable view-
finder automatically frames your picture, regardless of the focal
length of the lens. Price, $245 and up with Sesamee-locked May fair
case. Other Filmo Cameras from S92 and up. The Filmo j; Camera,
equipped with Kodacolor filters and speed lens at $149. jo, is the
lowest-priced Kodacolor equipped movie camera. Bell & Howell pays
the tax.
The New Filmo JL — Finest of Pro j ectors
Here's the finest 16 mm. projector yet made. Completely answers every
projection need from small living room to large auditorium. 100%
gear driven. Automatic rewind. New 400 watt, 100 volt Biplane Fil-
ament lamp for strongest, most even illumination. Automatic pilot
light. New tilting device. Illuminated voltmeter. Radio interference
eliminator. Other refinements. Price, complete with case, $298.
H^L? FILMO
Personal Movie Cameras and Projectors D „ u ^ ,„,,„ T , , ■
J Hell & Howell Co., 1843 Larchmont Avenue, Chicago
Bell & Howell Co., 1843 Larchmont Avenue, Chicago, 111.; New Gentlemen: Please send me full particulars on QFilmo Model M Pro-
York, Hollywood, London (B & H Co., Ltd.) Established 1907 jector QF.lmo Model JL Projector QFilmo Personal Movie Cameras
Bell & Howell's quarter century of experience in making Name
the professional cameras preferred by leading film pro-
ducers enables this company to design and build Filmo Address
Personal Movie Cameras and Projectors that assure you city .State.
PROFESSIONAL RESULTS WITH AMATEUR EASE
376
SEPTEMBER 1932
the ENSIGN 16MM
INECAM
will do the trick by hand or by motor!
FILM
RENTALS
IN
WILLOUCHBYS
16MM. LIBRARY
REDUCED
AGAIN!
Prices have never been so low.
You can now rent up-to-the-
minute films from our library
for even less than the usual
low cost.
With "D" Coupon Book, rates
for Features now as low as
$1.50; Single Reels, 37c.
Send for new price list and
catalogue of subjects available
to be shown in your own home.
BY HAND
You can crank the whole 100 feet of film without a stop.
BY MOTOR
You can take 35 feet at one time with ONE winding
— a longer run than you can get in any other camera!
The Ensign Super- Kinecam will enable you to take playlets, follow the games and
the races, and record other interesting scenes that require an unusual length of
continuous picture-taking.
Here's smooth, steady action without interruption — when you most need it — in a
remarkably fine camera, the most popular in the 16mm. field.
PRICE— ONLY
$175
including 1" lens, and genuine leather, velvet-lined case, which carries four rolls of film besides
the camera. Reverse attachment for rewinding film, $11 extra.
And these additional advantages:
— //2.6 Cinar Anastigmat lens in focusing mount.
— Multi-Speed mechanism control, giving speeds of
8-12-16-32 and 64 pictures per second.
— Double claw mechanism, die cast body, precision cut
gears.
— Hand crank and motor drive.
— Pressure control on film gate.
— Built-in exposure guide.
— Double spring motor giving 35 foot run of film in
one winding.
— Turret front to hold 3 lenses.
WILLOUGHBYS
110 WEST 32nd STREET
NEW YORK CITY
recipe
THE AMATEUR CINEMA
LEAGUE, INC.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and now
spreading over more than fifty countries. The League's
consulting services advise amateurs on plan and execu-
tion of their films, both as to photographic technique
I and continuity. It serves the amateur clubs of the world
in organization, conduct and program and maintains
for them a film exchange. It issues bulletins. The
League completely owns and operates Movie Makers.
The directors listed below are a sufficient warrant of the
high type of our association. Your membership is in-
vited.
DIRECTORS OF THE LEAGUE
President
HIRAM PERCY MAXIM.
. Hartford, Conn.
Vice President
STEPHEN F. VOORHEES New York Cit>
Treasurer
A. A. HEBERT Hartford, Conn.
C. R. DOOLEY : New York Cit>
MRS. L. S. GALVIN Lima- ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
Managing Director
ROY W. WINTON New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, INC.
1 05 W. 40th STREET, NEW YORK CITY, U. S. A.
INTERNATIONAL press comment upon the Amateur Cinema League in-
variably stresses the facts that the League has maintained its existence unim-
paired, that it performs definite services and that it has avoided two evils
that may readily wreck any organization, national or international, by not be-
coming embroiled in questions of relationship and control with local and regional
bodies and by not permitting subservience to commercial interests.
The Amateur Cinema League is an international society and it performs its
functions as one. It does not resent, nor does it foster, the development of nation-
al organizations, believing that these will come into being when amateurs in in-
dividual countries feel the need for them. Because of its headquarters being
in the United States, it has rendered a United States association entirely un-
necessary now or at any future time. The League does all that it can to encourage
the formation of local clubs of movie amateurs all over the world, without im-
posing any condition of relationship to itself. What it can give to them, it gives
absolutely freely and asks no allegiance or financial support in return.
In Europe and Asia, some national organizations are already in existence,
conducted according to systems designed to suit the countries concerned. To ama-
teurs in other countries who are contemplating forming national bodies, the
League points out a few fundamentals that it believes essential for success in
those enterprises. Its own experience has approved these fundamentals and it
considers them universally applicable.
A national amateur movie association must, in advance of its launching, be
sufficiently financed to insure its being able to bring its advantages quickly to the
attention of individuals all over the country. It will not grow well if it tries to
widen out from a local unit. It must have the leadership of men and women who
are favorably known throughout the country as conservative and judgmatical
people. Dependability and soundness, here, count for more than enthusiasm. It
must be able to get into direct contact with the largest available list of names of
movie amateurs. It must be a definite service giving organization and that service
must be of value to individuals and not to clubs or regional groups, as the funds of
these last are already bespoke for local needs and are not available for national
dues. The national body must get its support from, and must give service to, in-
dividuals who find its aid of real and specific value. It must establish early a
definite and workable relationship to the amateur movie industry of the country
and must gain that industry's confidence without, to the least degree, sacrificing
its amateur independence or admitting any commercial management or direc-
tion. It must not become the field of operation for personal ambition, regional
domination or industrial exploitation.
A full success may come to national organizations that ignore some of these
essentials, but the League believes that, if it comes, it will do so in spite of diffi-
cult handicaps. These essentials are stated here because the League feels that
efforts toward national organization that do not succeed will be to the disad-
vantage of the whole development of amateur cinematography. They are
difficult terms but unavoidable.
In the face of increasing difficulties arising from international exchange and
tariff barriers — and no country is without these — the Amateur Cinema League
performs, and will continue to perform, its task as an international service body
for the movie amateurs of the world.
The old oaken bucket
Lvnwood M. Chace
M O V I
379
MAKERS
Set it to film
LYNWOOD M. CHACE
poems can
Favorite
provide continuity
with little effort
DO YOU know of an old rambling home-
stead where the cattle low in the lane? Can
you recall a mill on a hill with great lat-
ticed fans silhouetted against the cloud patterned
blue; a rustic wellsweep near a certain country
road where the old oaken bucket is making its
last stand; or a brook that winds through the
green meadows and flows beneath the road where
great silent trees stand close? Do you remember the ploughman laboring with his
team against the red setting sun and the reaper with his scythe strangely swinging
behind the ripe falling grain? Do you remember a little brook set in quiet meadows?
With the pen, I can only suggest these pictures that lure you to turn and look again
as you pass, but the cinema camera, with its powerful magic, is very different. Often
have I longed for a good reason to reap the bountiful harvest of country roads with my
hungry camera. Then it came. A moving picture concern asked me to illustrate the
familiar poem, The Old Oaken Bucket. This opportunity presented the much wanted
excuse to fulfill the longing. I found the work pleasant and well within the field of
the amateur cinema photographer.
Next spring I plan to do Tennyson's poem, The Brook. There are many others,
such as Home Sweet Home, When You And I Were Young, Maggie, Flow Gently
Sweet Afton, that would make good subjects for films. The hymn, Work For The Night
Is Coming, suggests a splendid opportunity to help the church with its evening services.
If you have children, making a picture version of the song, Childhood Days, among
other appropriate songs, would enable you to photograph the youngsters in action
and would provide you with a picture which would perpetuate their infancy on the
screen. Such a film, set to music, would furnish home movie material of a standard
that could scarcely be bettered.
In planning the picturization of The Old Oaken Bucket, a shadow of the bucket,
well spaced and pleasingly posed against the time etched curb, was chosen as the back-
ground for the lead title. The first line of the poem, "How dear to my heart are the
scenes of my childhood," was presented by a scene of a little frowzy headed boy with
his dog, and a little girl with long curls and her doll, sitting on the brow of a hill
looking away from the camera at high floating clouds. The whole made a very pleasing
interpretation of this line of the poem.
To picture the third line, "The orchard, the meadow, the deep tangled wildwood,"
a closeup of a boy eating a big red apple, with the old gnarled orchard in the back-
ground, was selected for the first scene. The boy swinging on a twisted wild grape
vine hanging from a hazel tree in a rustic setting made an appropriate arrangement
for the ending of the line.
Then, for the last two lines of each stanza, "The old oaken bucket, the iron bound
bucket, The moss covered bucket that hung in the well," I started with a closeup of
the bucket on which I had glued patches of moss taken from the stones of the well.
I showed the bucket ascending from the water, up past the fern fringed wall, to the
ancient curb; I used a large reflector to throw light into the dark well and set the
camera lens fully open. I chose a bright day and a shallow well. The resulting scene
was perfect. I repeated the same process in a second sequence, this time in shadow
pantomime, against the inside surface of the curb. The whole process of raising and
lowering the bucket and pouring the water was comprehensively depicted. Next, I
shot up at the crotch of the wellsweep while it was in action. It made a pleasing and
effective shot against the sunlit clouds.
What material for pictures there is in the two lines, "The wide spreading stream
and the mill that stood by it. The bridge and the rock where the cataract fell ! " How
I enjoyed illustrating them! The sequence started with a scene of a barefooted boy
fishing where the water fell, with the old mill pond in the background. To get the
shot of the cataract, I got down, with bare feet, in the stream at the foot of the falls.
I saw it as I had not seen it since I was a boy. I filmed it with the light filtering through
to present a silvery cavern. I selected several odd angles, clearing away overhanging
brush to get the required point of vantage for the camera.
"As poised on the curb, it reclined to my lips ! " was presented by a closeup of the
boy drinking from the bucket — and so on. It would take many pages to cover the
subject thoroughly and I had much rather make pictures than write about them.
Little difficulty will be encountered in making film versions of old poems and
songs. In most instances, the lines offer very clear suggestions of picture possibilities.
Building up sequences and varying the camera angle is [Continued on page 399]
R. I. Xesmith and Associates
The autumn has its
Kodacolor triumphs
as well as spring
Jl S with other subtleties of life, the movie making opportunities presented
jp^ by the wonderful coloring of autumn foliage are not always appre-
# \ ciated. We are thrilled at the coming of spring. The colors of tulips,
hyacinths and daffodils are a glad relief after the long, gray, bleak winter.
Roses, ramblers, phlox and gladioli brighten the summer months with ever
changing varieties for our color closeups. All these changes in summer color
are enchanting, so enchanting, indeed, that perhaps they surfeit our color
sense. When autumn comes, with nature parading her most ornate costumes, it
is all too easy to take that glorious season's rare offerings for granted. With
the whole expanse of town and countryside richly pigmented, we tend, never-
theless, to think back to summer's less generous brilliance, forgetting that fall
is fleeting and that winter lies ahead.
This autumn will spread color filming possibilities never before yielded to
movie makers. In previous years, color enthusiasts have been handicapped in
making autumn films in hazy light and either early or late in the day. Now,
with the new supersensitive Kodacolor film, all of the delicate shadings and
enriched colors of foliage can be faithfully, gloriously rendered — under con-
ditions impossible until recently.
In black and white cinematography, a premium rests upon unconventional
side lightings and back lightings. That does not necessarily apply to Kodacolor.
As a rule, a flat lighting which is obtainable by having the sun back of the
camera gives the fullest value to color rendition and consequently the most
pleasing effects. Color movie makers should not be deterred by this rule from
experimenting with side or back lightings. If all the values of the possible pic-
tures are kept in mind, many very artistic color shots may be obtained by daring
a few lighting experiments.
In late September, October and early November, the sun is not as bright as
in July. That must be borne in mind in deciding whether or not to use a neutral
density filter. In bright sunlight during these months, when the sky is clear
blue, the No. 1 neutral density filter should be used on distant and medium
distant scenes. For closeups in the same light (when the camera is between
two and and ten feet from the subject) no neutral density filter should be used.
In hazy sunlight, use the No. 1 neutral density on distant scenes, but none on
the medium scenes or the closeups. If the colors of the scene which the camera
frames are dark and slightly shaded, use half speed on closeups. But, if the
subject is fully lighted, regular speed will render satisfactory results. In making
back lightings of foliage in bright sunshine, no neutral density should be used.
In hazy sunlight, back lighted pictures should be made at half speed.
As picture sharpness adds greatly to color brilliancy, it is important to
focus the camera accurately. Unless one is a good judge of distance, a tape
measure or some other means of measuring the distance should be used. This
is particularly true when closeup or semicloseup shots are being made.
Composition should always come in for its share of consideration in photo-
graphing autumn foliage. A few moments of patience in sighting the camera
from various angles and different distance before making the exposure will
pay profits in improved arrangement. A branch of red and yellow leaves, for
instance, is most effective when it is shot with the blue sky as a background.
A view of golden yellow leaves swaying in the breeze before a small lake or
pool reflecting the blue of the sky is far more attractive than when the leaves
are filmed merely against other branches of yellow leaves.
It may occasionally be necessary to "panoram" in order to include a desired
group of varicolored trees. That is the cue for a word of instructions about
"panoraming." Remember that the best panoramas are made with the camera
moving very, very slowly and evenly. If a tripod is not available, the best sub-
stitute is to make a steady tripod of one's own body by this means : stand with
the feet well apart, sighting the camera where the sweep is to end; then swing
the body through the hips and knees — not moving the feet — to the position
where it is to start. First make a practice
panorama without exposing any film. If
the stance is correct, a smooth, even sweep
can be made to nearly 180 degrees. A
correctly made panorama should never,
on the screen, give any effect of scenery
rushing past nor any consciousness to
the audience [Continued on page 399]
Colorings
; of
fa
II
scenes
in
vite
th
e
camera
's
act iv it
V
HARRIS TUTTLE
Autumn Kodacolor
380
381
An analysis of filters
S. A. KORFF
Scientific details
about the behavior
of these cine aids
THERE are two chief reasons for using
filters as an aid to high grade cine-
matography. The first is that the
atmosphere and, to a still greater extent,
smoke, dust and ground haze reflect and
scatter blue light more than red. In photo-
graphing distant scenes, diffused scattered
blue light enters the camera lens from all
directions and smears the definition of the picture. This is rendered worse by
the fact that ordinary film is even more sensitive to blue and violet than is the
eye. Consequently, a filter should be used to subtract the scattered blue light.
The second reason for using a filter is that, while the eye is relatively insensitive
to violet and quite sensitive to green and yellow, the reverse is true of ordinary
film. This film, therefore, does not record the same color values as does the eye.
Filters are designed partially to correct this difference and to give more nearly
the correct color values.
In order to investigate the behavior of films and filters in detail, a special
spectroscope has been built and is in use by the writer. In this instrument the
spectrum is spread out, horizontally, showing all the colors from red to violet.
When any kind of light is directed into this instrument, this light may be seen
separated into its component colors along the horizontal scale, while the vary-
ing heights of the beams indicate their relative intensity. The colors are defi-
nitely identified as light wave lengths and a wave length scale is incorporated
in the spectroscope. This identifies the colors when a photograph is made
through the instrument. It is customary to record wave lengths in Angstrom
units, and we find 3500 to 4200 Angstrom units to be the violet and ultra violet,
4200 to 5000 the blue, 5000 to 5800 the green, 5800 to 6000 the yellow and
6000 to 7000 the orange and red. In the scale shown in the photographs the
last two zeros are omitted. The lower numbers indicate the longer wave lengths;
the higher ones, the shorter.
Fig. 1 shows the characteristics of three typical emulsions — ordinary
"ortho," "chrome" type and supersensitive panchromatic. The ordinary, it will
be seen, has its maximum at 4600 A. U. in the blue, and the "chrome" film
nearly duplicates this but has, in addition, a secondary peak in the green at
5500 A. U. The panchromatic is far more even all the way across the visible
spectrum and has a slight dip at 5000 A. U. in the blue green. Supersensitive
"pan" differs but little as to color sensitivity from ordinary "pan," the former
being slightly less sensitive to the violet and uniformly faster everywhere else.
The action of a filter is to cut out certain wave lengths. Those used in pho-
tography ordinarily transmit all wave lengths longer than a certain value and
absorb all shorter ones. For example, the orange yellow (Wratten) G filter
transmits all waves longer than 5200 A. U., the blue green, blue and violet light
being absorbed. A lighter yellow filter would transmit in addition some of the
blue, while a deep orange or red filter would transmit the red or deep red only,
and hold back all the blue. The deeper the filter, the more scattered short wave
light is cut out and the better is the definition in distant scenes. In planning
to take these distant shots, however, the amateur should not confuse the ordinary
distance haze with actual mist. Real mist consists of a cloud of water vapor
which has a characteristic whitish gray appearance instead of the blue shimmer
of haze. By no filter expedient can the amateur photographer penetrate mist,
because it is opaque and hides the subject. But mist is seldom present on a clear
day and it is only on such days that any distant shots should be attempted. The
haze on such days may often seem non existent, but it is always to be remem-
bered that the film records haze more definitely than the eye sees it. So that the
use of a blue subtractive filter for distant shots — mountains, landscapes and
the like — is always indicated. Such filters are the deep amber and red ones.
Very deep red filters, practically opaque to the eye and transmitting infra red
only, have been used experimentally to photograph scenes up to 300 miles
distant. Of course, such a filter would not find extended use by the amateur.
The new green filters absorb both red and violet, letting green, blue
green and yellow through. With such a filter, green photographs light and
blue and red, dark. This filter is particularly good for landscape shots in the
spring or summer.
The action of a filter is shown in Fig. 2, where an orange yellow G filter
has been placed before the spectroscope. The violet [Continued on page 400]
Intelligently used,
filters will give
whatever you want
Smith of R. I. Xesmith and As
Riding in advance
THEODORE C. ROCKWELL, ACL
RECENTLY, I planned a ten day auto trip and, of course,
the cinematic material was most in evidence when it
came to the packing of supplies. I rounded up the
camera tripod, color filters and fast lens, the slate and chalk
for titles and considered everything ready. As we were fore-
handed and still had twenty four hours before the start, the
good wife suggested that we spend the evening running off
all the 16mm. reels taken on former auto trips, noting the
errors and profiting thereby. These errors we listed accord-
ingly, and were somewhat surprised to find that we were able
to derive a very definite number of positive suggestions from
them. I think it will be interesting to pass them along.
One series was taken on a trip through Wyoming. Our
actual recollections of the trip brought back to us the mar-
velous scenery we encountered, but such pleasant recollec-
tions were not aided and abetted by the film to any great
extent. Each shot apparently endeavored to take in all the
scenery in the state and, if there was a single point of interest
in any scene, it was so small that it could not be distinguished
easily in the general effect. One entire reel was devoted to
the portrayal of the difficulties of a pack train on a rough
trail. But the pack train happened to be half a mile away and
we had no telephoto lens at the time. So the audience simply
has to take the exhibitor's word for it that the pack train is
there at all. We took a rodeo picture, too. It was all right,
except that it made a point of slighting none of the several
thousand spectators present. There were four thousand head
of stock rounded up on the ranch where the show took place.
We took all these in one picture, too. The only closeups we
had were those of riders passing at breakneck speed at right
angles to the camera lens. The result was a very good ex-
ample of a first class set of blurs.
Another series, taken under exotic conditions on the north-
ern coast of South America, revealed another set of faults
which we vowed to overcome. Here, one might think that, the
life having changed very little since Columbus's day, it would
not be difficult to find interesting subjects. The subjects indeed
were there in abundance, but the abundance was too great.
We made a futile endeavor to take them all and didn't get
enough for any one. The cameraman may be said to have had
some excuse here, because, while choosing his subject, he was
making a mental exposure calculation based upon the effect
of ocean reflection under tropical light, the possible absorption
Let the automobile
cover the distance
— n ot the camera
A simple
of likely
foi
check list
blunders
motor filmers
of light by the dark
green of the jungle, and
was adding to or sub-
tracting from the dia-
phragm opening to even
up for bright tropical
suits or the light absorp-
tion of naked, black
humans. It was almost more than a "single track" human
mind could handle. While frantically winding the camera, he
would hear the admonition, "Here comes a funny woman with
a bundle of wood on her head ! There goes a big fellow riding
a donkey smaller than himself ! Get those two little black boys
driving an ox cart!" These and a lot of other "back seat"
movie admonitions resulted mostly in fascinating views, each
but a few seconds long, and the audience must be hastily told
in advance what the next picture portrays, only to receive a
fleeting glance of it while hearing about the following one.
There are technical flaws, too, that follow hard on the heels
of these quick shots. In my case, the picture took a sharp
swoop at the end of almost every scene because I forgot to
turn the camera off at the proper moment.
Then, we checked all the titles. I do not make the more for-
mal titles, preferring to "title as I go" with the aid of a small
blackboard and a convenient piece of chalk. But this quick
titling, at first, did not seem to produce satisfactory results,
because I never could remember to correct for the offset posi-
tion of the viewfinder on closeups of this kind. Taking a lesson
from our off center titles, we did a little experimenting and
finally hit upon the expedient of making an auxiliary ink mark
on the finder glass, which defined the position of our little
title slate when held at a certain distance from the camera.
This helped a lot in making our centering automatic. We
simply ignore the ink marks when taking ordinary long shots.
We made our title exposures uniform by shooting the slate
always by the diffused light from the north, under the open
sky. The resulting titles are legible and consistent in style.
I wish I could take along a technician and a continuity
adviser on each of my auto trips, for often my memory of the
right procedure slips under the press of circumstances. We
have realized this ideal condition as nearly as possible by
taking along back copies of Movie Makers and by summing
up the don'ts gained from projection of previous films.
Ewinjr Galloway
382
383
Rover on a fishing
trip suggests an
incident for comedy
PERMIT me to introduce a movie star who does not
demand high wages, who will not go on strike during
production and who requires very little high pressure
directing. Ladies and gentlemen — the family dog! Be he
mutt or hlue blood, Fido has stolen many a scene just by
walking into the view of the camera. A little thought, a trifle
of careful directing and behold — he emerges as a star of the
first magnitude!
He will be glad to work in The Great American Travelog.
Here he may be cast as a poor but honest character who, in
his wanderings, sees the country and eventually finds a home
where he is permitted to bury his nose in a well filled plate
of beef. He may be a rich and pampered Pekingese who is
lost, chased over the country and finally found in the company
of a striped creature known to furriers as Black Marten and
to farmers as plain skunk. Naturally, we fade out on the
harrowing result — a bath.
Consider the value of using a dog as the central character
in the travel picture; we have ample opportunity of photo-
graphing beautiful scenery, interesting cities and curious
buildings and, in addition, we bind these together with a
story of canine adventuring that will arouse the interest of
any audience.
The dog actor, to be successful on the screen, must show
some emotional expression. The great secret of securing this
is to study the individual dog carefully. Experiment a bit
with your pet. See how he responds to various stimuli —
various tones of the voice, his food pan, his favorite toy, his
leash and other objects he comes in daily contact with. Be
patient, never attempt to force him and, unless you wish
to lose all control over the dog, never lose your temper. Sim-
ple plots are best and should be photographed outdoors.
Here is an example of a plot to try with the average small
dog. We see Rover waiting expectantly outside the kitchen
door. The door opens, the cook appears with a pan of food.
Evidently it is too warm and it is placed out of reach of Rover,
to cool off. The dog registers expectancy then disappoint-
ment and finally walks away. (The average dog will go
through this action naturally.) Enter the villain! We see a
rough, tramplike individual appropriate the pan for his own
use. The hero appears and the usual motion picture chase is
on! After a few feet of this, Weary Willie jumps over the
wall, out of sight, with Rover one step behind him. We now
Doris Day
see scraps of clothing being tossed above the wall. Rover
finally appears licking his chops. The smaller the dog, the
more laughable this bit of film fantasy becomes. The master
of the dog should take the part of the tramp which will sim-
plify the chase sequence.
"Comedy is the best policy" for the canine script writer.
The most effective method of securing comedy is the creating
of ludicrous situations by placing the dog where, by all prece-
dent and common sense, he should not be. For instance, I
can imagine no better material for good comedy action than
a large and ungainly dog placed, by fate, perhaps, in a small
rowboat with two earnest fishermen! He falls overboard, is
rescued with difficulty, shakes himself over his companions,
tangles up the tackle, tries to play and finally upsets the boat!
At the last Morris and Essex Kennel Club show, I was
pleasantly surprised at the number of amateur movie makers
who were present. The outdoor dog show is a most colorful
and interesting event even to those who are not actively inter-
ested in showing dogs. With proper care with regard to con-
tinuity, and knowing just what to photograph, a dog show
reel will prove a valued part of the film library.
Start the film with the arrival of the exhibits. Some will
arrive, one by one, in the private cars of their owners and
others will come in individual boxes, or "show crates," piled
high on the trucks of large kennels or of show dog "handlers."
Follow this with a shot of the veterinarian examining a dog
or so. (Each dog in the show must pass this examination.)
If the show has "benching" or long rows of individual stalls,
take a few feet of this. Terriers are usually "on their toes" and
make an active picture on the bench.
By this time there will be enough crowd assembled to make
a good picture of the grounds. You will, unfortunately,
probably have to "panoram" to get all the scene at once.
Personally, I favor keeping the camera still and taking only
portions of the scene at a time. This sequence may be placed
in a more advantageous
position in the reel while
the film is being edited.
Do not take too many
feet of the judging of
the individual breeds.
It is best to save film for
[Continued on page 400]
Canine actors will
bring sincerity to
film performances
CYRIL PRESGRAVE, ACL
Let Rover do it
384
Rim and reflected
light emphasizes
subjects of scenes
RUSSELL C. HOLSLAG, ACL
The clinic
Technical comment
and timely topics
for the amateur
Edge lighting ■ In photography, the
subject may be dif-
ferentiated from the background by a
strong rim of light around its edge. This
is a very valuable aid to the photographer
who wishes to emphasize a certain subject
or bit of action. The exposure should be
set for the shadow side of the subject,
leaving the brilliant, rim lighting as bright as possible. The accompanying
illustration shows an excellent use of rim and reflected lighting to make the
subject stand out from the background, which would otherwise present a dis-
tracting element. Such lighting is used when an overfull background is found.
Slow motion Color ■ ^he 16mm. possibilities for taking high speed, or
slow motion, camera shots in full natural color for-
merly were distinctly limited, but they are now well defined. The supersensi-
tive Kodacolor film has made this possible, and on a bright, sunshiny day it is
perfectly feasible to use one's color camera to get that flowing, graceful effect
which is so characteristic of slow motion shots. The fact that they are in bril-
liant color adds wonderfully to their effectiveness. A camera speed of sixty-
four frames per second may be used wherever the exposure meter indicates
a reading of //ll to //16, or wherever the No. 2 neutral density filter would be
used at normal camera speed. Under these conditions, the slow motion shots
are taken without the N. D. filter. Plenty of colorful, active subjects present
themselves immediately. Perhaps the cinematographer can secure an action
picture on the beach of a group of girls in brightly colored frocks. Here, if the
light is very brilliant, the use of the No. 1 N. D. filter may be indicated, even
when the camera is operating at high speed. Then, of course, there are always
the graceful swan dives, swimming scenes and the like, as well as the surf with
its white spray against the background of blue sky. Slow motion in color is
indeed fascinating.
Random shots ■ When removing your projection equipment to another
locality to give an important show, it is always wise to
take along a few extra plug fuses and, immediately upon arriving, to ascertain
the locality of the fuse box. Better to take this extra trouble than to have the
screen go dark permanently in the middle of your most interesting film.
H Dr. R. M. Miller, ACL, in making an excellent and unusual film showing a
sequence of molten metal in the steel furnaces actually boiling, says, "This
view was taken with a 3X filter in addition to one of the blue lenses used in
glasses employed by the workers when inspecting the metal." Normal pan-
chromatic film was used and a telephoto lens at //16 provided a closeup.
H Amateurs have repeatedly been warned in this department against the use,
without checking, of the telephoto and fast lenses. Yet films continue to be
sent in, showing out of focus shots where it is obvious that this advice has
not been heeded. It is no fault of the fast or tele objective if its focusing
mount does not agree with your particular camera. This is a matter which may
easily be checked up and adjusted by your dealer when you purchase the lens.
Take your camera with you so that the new lens may be properly adapted; do
not wait until you come back from a round the world trip with a lot of hazy shots.
■ In an item recently appearing in the Chicago Daily News, it was announced
that there would be no ban, whatever, on amateur camera operations during the
coming five months of the Chicago world's fair in 1933. All bona fide amateurs
will be allowed to "press the button" without let or hindrance, a state of affairs
which recognizes the growing importance of amateur movies and stills.
Stunt of the Month ■ A- most interesting and purely photographic method
for making negative title backgrounds in a simple
manner has been developed by G. Clifford Jaques, ACL. Such backgrounds
are admirably suited to the making of direct positive titles, whereby the title
is photographed in the negative, with black letters on a light ground. Positive
film is used in the camera and, when this is exposed and developed, gives a
very contrasty result with reversed tonal values. The League technical depart-
ment will be glad to furnish complete information covering the direct positive
method of titling. Mr. Jaques provides title back- [Continued on page 401]
385
Filmer up!
JULIEN BERCER
Quick thinking is
essential both to
fielder and filmer
BASEBALL — no longer a game but an
American institution — offers the
amateur cine enthusiast an excep-
tional opportunity to put his talents to
such use as will result in a film full of
thrills and action and an important record.
Although a camera with a single lens
mount can be used, a revolving turret head
model, accommodating three lenses, is more desirable in that quick alternations
between lenses of various focal lengths can be made instantaneously while,
with a single lens mount, the lens in use will have to be removed when a lens
of another focal length or speed is substituted. This takes time and time
is valuable in sport filming. The lens equipment is of great importance. This
should consist of a wide angle lens with a speed of //1.5 or //1.9, a two inch
and a four inch lens, each as fast as your finances permit.
Although panchromatic film will be used under all normal light conditions, it
is advisable to have a roll of supersensitive panchromatic film in reserve. It must
be remembered that very often the last inning of a ball game is played late in
the afternoon when, with panchromatic film or slow lenses (or both) there is
insufficient light for good exposure. When making his first baseball film, the
writer was compelled to forego some good action shots because, although the
camera was equipped with fast lenses, it was loaded with normal panchromatic
film. The game did not end until seven o'clock in the evening but, had super-
sensitive film been on hand, a smaller lens stop would have been possible, bring-
ing the lens opening within the maximum range of the equipment.
Although tripods are useful, they have their limitations in filming sports
with amateur equipment. Things happen suddenly — and quickly — in a ball
game, and there is no time to set up a tripod every time a new location is
chosen or a different part of the field is selected as a background for the sub-
ject matter. However, if you cannot hold the camera rigidly enough for steady
results when using the telephoto lens, the difficulty can be overcome by using
what is known as a table tripod. This accessory is simply a metal disc, provided
with a screw for mounting on any 16 mm. cine camera, and can be purchased
in any camera store for a small price. With the aid of this unit, which can be
carried in your pocket, the camera can be rested firmly on any flat surface.
The planning of the film is now to be considered and is of paramount im-
portance if the finished film is to hold the interest of the audience. An excellent
opening scene would be a shot of the sign, always found near the gate of every
ball park, bearing the name of the park, followed by a shot of the billboard on
which are advertised the names of the competing teams. Follow this with a shot
of the crowd purchasing tickets and passing through the gates. Why not have
a friend film you as you purchase your ticket and enter the grounds? As you
will endeavor to arrive before the start of the game, you will probably be per-
mitted to shoot a scene of the grandstand and bleachers from a position on the
field. Whether or not you will be permitted to remain on the field during the
game is questionable, as this privilege is rarely granted even to professional
newspaper and newsreel men.
In the event that you are not permitted on the field, while the game is in
progress, the next best position is in the press stand. This stand is usually
behind the home plate and, from it, by using the two and four inch lenses, most
of the important action of the game can successfully be filmed.
What about exposure in general? The baseball field always seems to be
the focus for the sun's rays and is not that part of the grandstand which is
open to the sky called the "bleachers"? Then, there are the light uniforms of
the players and the powdery dust kicked up by the activity of the game. So
that, in general, when the sun beats directly down on the field during most
of the game, the lens stops used will be quite small. Probably //8 to //ll will
be found to be the normal stops with normal film, with one stop smaller for
supersensitive, of course. When the shadows begin to get long and the sun low
during the last innings of a double header, then is the time to begin to think
about opening up, but not before. As to filters, they will seldom be needed and
the amateur would be wiser not to complicate the filming of an exciting game
with them. The grandstand or the outfield fence will usually form the back-
ground for most of the action, so there will not be much sky to bother with.
Filters might be valuable in some of the preliminary [Continued on page 402]
The "Bambino" can
be captured better
with telephoto lens
Ewing" Galloway
A familiar goddess
is startling in a
vertical exposure
Ewing- Galloway
THE most superfluous admonition that could be addressed
to a professional newsreel cameraman would be to shoot
plenty of footage. His inclination, supported by the
lessons of experience, is to err on the side of lavishness. He
is interested in results, and considers any economy unjusti-
fied which tends to reduce the quality of the final product.
The amateur, on the other hand, thinking of immediate needs,
usually errs on the side of niggardliness and deprives him-
self of scenes that would later come in very handy.
Mere footage, however, is not what we are referring to.
Once a scene has been secured, there is no advantage in pro-
longing it. Eight feet should see the end of most scenic shots,
ten to fifteen feet that of most acted scenes. What is required,
both for stock shots and for continuity building, is not greater
length but more variety.
Here is a movie maker outside a football stadium shooting
the crowd as it enters the tunnels. It is a big mob, and he is
satisfied that he has succeeded in securing an effect of mov-
ing mass. So far, so good. But the effect will be several times
multiplied if he will now shoot a "reverse angle.'.' He should
enter the tunnel for a short distance, turn around, hold his
camera above the heads of the approaching crowds and
shoot toward the outside. That will be something quite dif-
ferent, something like a view from the small end of a funnel.
It will never bore the audience as mere added footage from
one point of view would have done. It will be useful in edit-
ing, and the scene will probably be placed after some other
shot showing the inside of the stadium and the crowd taking
seats. It will make it infinitely easier to build up a good
continuity because it will serve as a break, but with the
same purpose as the other scenes.
Nor will this process always necessitate greater film con-
sumption. Several shorter scenes may take the place of a
longer one. Here is a grandstand during a horse race. As
soon as it is flashed on the screen, the spectator sees it all.
In about fifteen seconds
he has grasped the im-
port of the scene, as a
whole, and begins
straining his eyes for
details. If he has to pick
them out of the long
shot, it will take him a
Advocating a more
unconventional way
of camera pointing
long time. It will be more satisfactory to jump promptly to
whatever angle will supply those additional details he seeks,
both by switching lenses and by moving the camera to a dif-
ferent position. The more answers the camera gives to the
audience's unspoken questions, the more satisfying the pro-
duction will appear. It is valuable to pause and to anticipate
some of the audience's questions both spoken and unspoken.
Even a casual analysis of the scene being filmed will reveal
a possible development of interest through closeups and shots
at different angles. For example, let us say that we are film-
ing an autumn scene in the woods. A general view through
the woods, with shafts of light from the slanting sun cutting
through the trees, first attracted us and suggested getting
the camera out. After making this shot, we would pause for a
second and consider the best followup. What possibilities
does the scene offer and what question does it suggest that
may come from the audience? On the ground are scattered
patterns of fallen leaves. In walking through the woods, one
would naturally glance at them. A closeup shot, then, of the
scattered leaves at the tree trunk's base is a natural followup.
As is almost always the case in a followup shot, here is the
best chance to get an individual composition or screen effect.
So, we vary the angle considerably and point the camera
directly downward on a selected area where the breeze picks
up the leaves to provide a little movement.
Variation of angles is always useful for, if there are five
angles to choose from in editing, it will be possible to build
up suspense by cutting in some bits of byplay in the middle
of the main action. Obviously one cannot come back to the
very same shot without making the spectator think, if not
say, "I have seen that before!" Since suspense comes of de-
ferring the completion of an act which is fully expected,
varieties of shots are required to make suspense editorially
possible. The very least that should be available when the
film comes to the cutting table would be a long shot, a
medium and a closeup, and these should not be mere changes
in size, but actually different camera angles, so that they do
not create the idea of repetition.
A new angle is a new scene. Of course there is one, and only
one, best angle at a given instant, and the cameraman should
hunt for it diligently; but he should first, especially in the
case of a travelog, shoot the scene as it appears as soon as he
finds a satisfactory angle, leaving [Continued on page 400]
386
PAUL D. HUCON
New viewpoints
Step up, now, everybody!
ARTHUR A. HEBERT, JR., ACL
387
Movie expedients
for recording well
known phenomena
Whirling wheels of
merrymaking give
many camera angles
William M. Rittase
A MUSEMENT PARKS and country
MjL fairs arc filming fields thai mam
g ^ cine workers have neglected.
There are few, if any, amateur pictures
that deal comprehensively and amusingly
with these exciting subjects. Of course
there have been professional interpreta-
tions of Coney Island and Luna Park but
these have been part of a story and not the story. There have been mis-
cellaneous amateur shots of an amusement park, principally wild panoramas
of a roller coaster whizzing past, snaps of some fancy diving into the pool
or semicloseups of a skylarking bunch of merrymakers, but an impersonal
and planned cinematic story is something new to try-
There are two courses which one may follow in making such a film. The
first is to set forth boldly with camera and plenty of film and shoot subjects
as one runs across them. The film would then have to be "made" on the editing
bench. Such procedure would undoubtedly secure everything that is wanted
but it would prove quite expensive. The more economical method would be to go
to the park with a clear and open mind, possibly with a notebook and pencil,
but no camera. Enter the place with eyes wide open and imagination keyed
up. Consider everything in sight. Walk the rounds several times; something
new will be seen each time. Try some of the rides and thrills the park offers.
Study the side show characters, the weight guessers, balloon and novelty
peddlers, tintype photographers and all the ballyhoo men. They should be
included in the picture, for you will never find more unselfconscious or energetic
actors. Plan some angle shots and telephoto closeups.
Having filled your brain to overflowing with the heterogeneous possibilities,
return to a quiet spot and sketch out a scenario. Do not be troubled by won-
dering if the film can be done in one or two hundred feet. Much
footage will go to the cutting room floor even in a planned story. It is poor
practice to worry over film footage when making a planned picture for, if the
scenes are cut short in filming, there is no leeway left for cutting and editing
the final version.
Now, with a good knowledge of what is desired and a definite plan to
follow, it is time to take the camera and enough film to the park. A good
opening shot is a closeup of the sign on some public conveyance running to
the park. This could be followed by a semicloseup of feet clambering aboard.
Then, of course, the vehicle will move out of view. The scene of the entrance
to the place should include the crowd of merrymakers. A few long shots of
the midway could follow the gate scenes but, in the main, the film should
consist of closeups and near shots. Of course, the camera is taken on the
various rides. This may require a little cooperation from the operators but
you will be proud of the resulting sequences. The cameraman should be in
the front seat and, although most of the footage will be made with the camera
trained to the front, successful scenes can be made by shooting off the side
or at right angles to the line of travel. Shoot back over the line of cars to
show the expressions of the passengers. These scenes would be spliced in
later, after shots of particularly dizzy swoops of the car.
Angle shots will interpret the spirit of carnival. Gain a vantage point and
film the line of people purchasing tickets to some attraction. A closeup of
hands exchanging money for pasteboard is a logical followup. A good scene
can be obtained by riding one of the bucking steeds of the carrousel with the
camera. Do not forget to make one shot directly off the wheel as it travels at
full speed. Scenes made of the wheel from the ground could be spliced in
to build up a sequence.
The ferris wheel makes an excellent camera crane, vieing Hollywood's own.
Many aerial angles can be obtained from it as well as some thrilling moving
camera effects. From the ground, near shots of the wheel in motion offer
unusual cinematic possibilities. By shooting some other attraction through
the revolving wheel, a moving pattern can be obtained.
The editing of the film will be the most ticklish job. If improperly edited,
the spirit of gaiety will be lost. The tempo must be fast, but yet not too fast,
or the audience will fail to grasp entire scenes. Experimental editing of one
or two sequences is suggested before the whole film [Continued on page 403]
Amateur clubs
JAMES W. MOORE, ACL
A real SUCCeSS I The Premiere screening of The Last
Entry, a feature length mystery story
recently produced by an amateur group in Minneapolis,
Minn., met with as enthusiastic response as any amateur
photoplay yet offered the public. Applications for admittance
exceeded the theatre's capacity and a second evening's per-
formance was necessitated. Projection, which was accom-
panied by a musical score especially prepared for the film,
was carried on by two projectors so that the audience sat
through an evening's entertainment presented as smoothly
as in a professional theatre. The Last Entry, running seven
reels, 16 mm., is the most elaborate mystery story yet under-
taken by amateurs. The picture's unqualified success is proof
of the fact that really important results may be obtained by
an amateur club that will stick to the bitter end and that
will insist upon maintaining the same high standard in every
scene. In spite of continued personal sacrifice, the Minne-
apolis group worked together unceasingly until the final edi-
tion of the film was completed. James F. Bell, Jr., ACL, was
the director and on the production staff were Charles Bell,
ACL, Ben Bull, ACL, and Lyman Howe, ACL.
Austrian Contest ■ In Vienna. Austria, the Klub der
Kino-Amateure Osterreichs is spon-
soring an international competition for the best amateur film
of 1932. Entries, which must reach the contest committee by
November 15th, must be on 16 mm. or 9.5 mm. film, may be
of any type or on any subject and should be not more than
one hundred meters in length. For the three best productions
in each film size there will be awarded suitable medals of
gold, silver and bronze by a board of judges which will in-
clude Mrs. Ille Freundl; Registered Engineer Leo Fraenkel;
Engineer Karl Koeffinger; Engineer A. Niklitschek, editor of
The Sporting Daily; Franz Garzarolli; C. M. Kotlik; Rudi
Mayer, cameraman of the Selenophone newsreel; and Dr.
Hugo Fleischer, publicity director of the Viennese club.
Dutch Contest ■ Winning films in the Austrian con-
test will be entered automatically in
the Second International Competition for the best amateur
film of the year to be conducted in Amsterdam, Holland, by
the Netherlands Small Film League during the month of
December. This contest will be open only to amateur film
Latest news of
group activities
and photoplays
clubs and societies, with
a limit of four films in
all from any one group.
Appropriate diplomas
will be awarded to the
best scenario film and
the best general film on
16 mm. and 9.5 mm.
stock. Complete details regarding the contest may be had
from the Club Department of the Amateur Cinema League.
Australian ■ Under the leadership of Al Donnellan. ACL,
in Geelong, Victoria, Australia, fourteen en-
thusiasts have organized an informal production unit known
as the Austral Film Group. A short, all exterior film, based
on a summer hike and scenarized by Noel Faulkner, will be
directed by Mr. Faulkner, assisted by M. Moreton, and pho-
tographed by Mr. Donnellan and Ian McDonald. Mr. Don-
nellan is serving as president and business manager of the
club, while Wyn Gurr is secretary and treasurer.
Second film ■ With a highly successful screening of The
Mystery Of Forster Manor, their second
production of the year, the Scarsdale Cine Club has con-
cluded its activities for the season, according to the report
of secretary Edward N. Fisher, ACL. Martha Bucher, Ed-
gar Bassett and Henry Ballinger played the leading parts
in this thriller, with a large supporting cast from the mem-
bership. When meetings are resumed this fall, a series of
short study films will be produced.
In Paris ■ ^n amateur film record of the funeral of
M. Paul Doumer, late president of the French
Republic, was presented in Paris at a recent meeting of the
Club des Amateurs Cineastes en France. The picture, which
was the work of Pierre Bonvoisin and S. Gronostayski, was
synchronized with disc recordings of the address by Andre
Tardieu and of the music by the several military bands, ac-
cording to the report of Samuel T. Shaw, Jr., ACL, vice presi-
dent of the club. Other films shown the same evening were
Reves Exotiques, a picture of the French Colonial Exposi-
tion, and Seduction, a stop motion study of two Japanese
figurines. On a more recent pro- [Continued on page 403]
Bolton A. C A.
"Sporting Times" is
filmed by British
amateurs in Bolton
388
Why a busy man films
389
OLIN POTTER GEER, ACL
The lure of movies
as hand and brain
recreative action
HOBBIES, except the most strenu-
ous, have always appealed to me.
I cannot remember when I did not
have and use a camera. One of those little
leather covered boxes, that were the origi-
nal pocket Kodak, accompanied me on my
first trip to Europe when I still traveled
half fare. Many others followed, including
one of those whirligig affairs for taking panoramas, until finally came a Premo
Supreme. With it, I took the other members of the track and gun teams at
college and managed to corral prizes for woodland views and like subjects.
Prints, that had for years found their way regularly into neat albums, began
to accumulate in drawers, by the hundreds, when I got married. Our friends
were too obviously polite when I showed them, if I could find those they pro-
fessed a wish to see.
Then when, a year ago, the chance came to buy a movie camera I jumped
at it — in a small way at first. I bought a camera with a single, universal focus
lens and used my old wooden tripod without a swivel. Complete equipment
rapidly followed, however, to the delight of my dealer and the detriment of my
pocketbook.
Here was the chance to record the passing show — our home life as we lived
it, our friends and our travels. Nor have I overlooked opportunities to take pic-
tures for the sheer beauty of them. At heart I fear I am still a shooter of "stills."
Our friends, I find, are more interested in movies than in snap shots, provided
the former are well done. (That I fear is a big proviso.) Then, too, they like
to see themselves on the screen and will take part in little playlets without
too much urging.
While in earlier years I finished my own plates and prints, the job was
messy and palled on me. It was but endless repetition of the same processes.
Finishing movies, developed at the factory, is far more interesting. Titled and
edited they must be. I have found no better way of taking my mind off those
"other people's troubles" that it is my vocation to study. It is an all absorbing
occupation for many winter evenings, requiring the same attention I used to
give to building radio sets that had now better be bought. It calls for any amount
of reading and experiments, too.
Out of doors, during vacation and on our travels, the little new camera has
become my constant companion. Many, too, are the nights that I have used it
with the battery of lights I felt I simply had to acquire.
Finally, movie making offers a seemingly endless outlet for skill with eye
and hand. No two shots are alike; conditions are constantly changing. There
is not only the taking of the pictures but, first, the planning of them, scenario
writing, if you care so to dignify it. Then, afterward, designing and making the
titles, all of which I have done myself. Last of all, work, seemingly never ended,
at the editing board and its whirling rewinders. Seldom have I shown one of my
reels without making a note or two of changes to be made before its next pro-
jection. Here, again, is offered opportunity for exact work with eye and hand,
once the brain has done its part.
Now, all of my movies tell a story, although I have never gone in for photo-
plays per se. One of my recent endeavors was a film of the family beginning
with the start of the day and following through breakfast, the separation for
the day as each went on his own way, the return in the afternoon and the eve-
ning's recreation. I satisfied my desire for variety in the film by including
closeup shots of little details of action, sometimes using them as symbols to
connect the picture together. My most recent picture, in the making now as I
write, is to be a film of activities and sports at my summer home. I intend to
correct the error of my previous summer picture of trying to cover too many
subjects too briefly. This year's film is to cover fewer activities, but in greater
detail. I have not yet decided what the fall will hold for my camera.
What do I like best of all about the job? I am fascinated by each of its
endless phases a little less than by the opportunity for concentrated study of
each step, but the biggest thrill I get from composition, glimpsing a beautiful
scene, setting the camera and choosing the light, the lens, filters and stops best
to record it. 1 may still be a camera, not a movie, fiend but I am learning and
I am a good enough hobbyist to take my movie camera with me everywhere.
Movie Makers "Why I Film" Contest
Movie Makers believes that its pages will be improved
if they contain more informal reports from the great army
of movie amateurs.
We announce a contest, the rules for which follow,
with the sole purpose of encouraging more of our readers
to send in contributions.
As a kind of yardstick by which to measure, the article
on this page by Olin Potter Geer, ACL, is offered. Mr.
Geer is a genuine amateur, an attorney of New York City,
who understands the amateur's high hopes and his pains-
taking efforts to reach them.
There are no limitations on this contest and it is open
to everyone who has done amateur filming. Send in your
letters early!
RULES.
1. Write the best letter to Movie Makers on "Why
I make amateur movies."
2. Anyone who has done amateur filming may enter
the contest. There is no other limitation.
3. The best letter we receive will win a cash prize of
$50.00. There are no other prizes.
4. The letter must not be longer than 700 words. It
may be written in any language but, if published in
MOVIE Makers, it will be translated into English.
5. The contest opens September 1, 1932, and closes
December 31, 1932. The prize will be paid after the
judges' decision early in January and the winner will be
announced in Movie Makers for February, 1933.
6. Letters must be written on a typewriter, on one side
of the page only and doubled spaced. They must be
signed with the actual name and address of the writer.
7. All letters submitted, whether winning the prize or
not, become the absolute property of Movie Makers
and may be published in Movie Makers or not, as the
editor may decide, without compensation therefor to the
writer. The only compensation is to the one prize winner.
8. Judges will be announced later.
9. Letters should be addressed as follows: "Why I
Film" Editor, Movie Makers, 105 West Fortieth Street,
New York, New York, U. S. A.
390
SEPTEMBER 1932
LOLAlnT-CLfl
"I WISH I COU
■ Ill'jPHD
IRQ W{ ' -
CINE-KODAK EIG
MAKES FILM GO FOUR TIMES AS FAR
ANNOUNCED last month the Cine-
^Uk Kodak Eight has already created a
^ » lively stir in the home movie world.
It's news and decidedly welcome to those
who want to share the thrills of movie
making but who feel they cannot afford
the special features of 16 mm. equipment.
A Cine-Kodak for $29.50 — and Eastman
pays the tax! A new film that makes movies
at a fraction of their former cost.
This ingenious camera loads with a
25-foot roll of special 16 mm. film costing
$2.25 which is run through the camera
once and exposures made on one-half the
width of the film. Then the spool is re-
versed and the other half of the film ex-
posed. Thus you get four images in the
space of one as each is half as wide and
half as high as the usual 16 mm. image.
The film is processed by Eastman, slit
down the middle, spliced end to end and re-
turned in a 50-foot roll, 8 mm. wide... ready
for projection in the Kodascope Eight and
lasting the full four minutes on the screen.
The camera is unusually compact — small
enough for pocket or handbag. It has a
Kodak Anastigmat /.3-5 lens ... simplified
exposure guide . . . self-setting footage in-
dicator . . . eye-level finder combined with
carrying handle.
You'll want to examine this latest
Eastman achievement. It's sure to appeal to
your friends who have said, "I wish I could
afford to make movies . . ." and to you as
an ideal gift for almost any occasion — as
a going away present to the young people
who are leaving for school or college, for
example. Eastman Kodak Company, Roch-
ester, New York.
Kodascope Eight, Model 20 — Truly the sim-
plest of home movie projectors yet it shows
clear, brilliant movies. Price, $22.50.
Kodascope Eight, Model 60 — This has added
operating conveniences for those who want the
best. Equipped with 100-watt lamp for maxi-
mum screen brilliance. Price, $75 including
carrying case.
(At right) Cine-Kodak Eight — The home movie cam-
era that makes each foot of film go four times as far.
MOVIE MAKERS
391
L cl itl6l uir eJz_ to
D AFFORD TO
AKE
DME MOVIES"
390
r
SEPTEMBER 1932
c
N
w
m
th
A
at
2'
$:
oi
w
ve
P<
si
h<
d(
tu
fc
la
ej
d:
Ci
ai
an ideal gift tor almost any occasion — as
a going away present to the young people
who are leaving for school or college, for
example. Eastman Kodak Company, Roch-
ester, New York.
best. Equipped with 100-watt lamp for maxi-
mum screen brilliance. Price, $75 including
carrying case.
(At right) Cine-Kodak Eight — The home movie cam-
era that makes each foot of film go four times as far.
SEPTEMBER 1932
MOVIE MAKERS
eJz.e.A \-CLLlnrLCLifii_ cLnAureA. to
"I WISH I COULD AFFORD TO MAKE
■t«293 HOME MOVIES"
CINE-KODAK EIG
MAKES FILM GO FOUR TIMES AS FAR
ANNOUNCED last month the Cine-
M^L Kodak Eight has already created a
w » lively stir in the home movie world.
It's news ami decidedly welcome to those
who want to share the thrills of movie
making hut who feel they cannot afford
the special features of 16 mm. equipment.
A (,'inc- Kodak for $29.50 — and Eastman
pays the tax! A new film that makes movies
at a fraction ol their former cost.
This ingenious camera loads with a
j 5-foot roll of special 1 6 mm. film costing
$2.25 which ts run through the camera
once and exposures made on one-half the
width of the film. Then the spool is re-
versed and the oilier half of the film ex-
posed. Thus you get lour images in the
space of one as each is half as wide and
half as high .is the usual 16 mm. image.
The film is processed hy Eastman, slit
down the middle, spliced end to end and re-
turned in a 50-foot roll, 8 mm. wide. ..ready
for projection in the Kodascope Might and
lasting the full four minutes on the screen.
The camera is unusually compact — small
enough (or pocket or handbag. It hits u
Kodak Anastigmat /. V5 lens ... simplified
exposure guide . . . self-setting footage in-
dicator ... eye-level tinder combined with
carrying handle.
You'll want to examine this latest
Eastman achievement. It's sure to appeal to
your friends who have said,"] wish I could
afford to make movies...1' .uul to you as
an ideal gift for almost anv occasion — as
a going away present to the young people
who are leaving for school or college, for
example. I'astman Kodak Company, Roch-
ester, New York.
Kodascope Eight, Model 20 — Truly the sim-
plest of home movie projectors yet it shows
clear, brilliant movies. Price. $22.50.
Kodascope Eight, Model 60-This has added
operating conveniences for those who want the
best. Equipped with 100-wattlamp for maxi-
mum screen brilliance. Price, $75 includinq
carrying case.
(«\&fc0 ?nt-K^'k E/9M-Thc he
era that makei each loot ol film go foi
novic cam-
Practical films
Bu
siness, civic
sc
hool
rille L. Snyder, courtesy Caterpillar Tractor Company
m e d i c a
and other uses
- ft
Medical hTo show the progress in
limbering up a man's arm
stiffened by a compound fracture, Ouida
B. Grant, ACL. has made an unusually in-
teresting film of the methods of manipula-
tion used on this case at Bellevue Hospital
in New York City. The slow and painful
process of restoration is well illustrated as
the subject exercises first a finger, later the whole hand and at last the entire
arm. An unexpected but distinctly helpful byproduct of Miss Grant's movie
making attention to this case was a marked improvement in the patient's morale
as he found himself "an actor in the movies." He was almost sorry to leave.
■ A one hundred foot film, showing the technique of a pregnancy test as per-
formed on rabbits at the Worcester (Mass.) City Hospital, has been completed
by Francis D. Hart. M. D., ACL, working in cooperation with Raymond H.
Goodale, M. D., resident pathologist of that institution. The picture has already
be«n used with wide success by Dr. Goodale in conjunction with his lectures
at neighboring hospitals.
■ In Elkader, Iowa, E. R. Withell, ACL, is making a film study of the tech-
nique and results of chiropractic treatment. Particular detail will be given in
the film to the use of the neurocalometer, an important guide to the patient's
reactions to such treatment.
Welfare ■ Serving more than 50,000 persons over an area of 1600 square
miles, the Public Library Commission of British Columbia faces
a new adventure in bringing books to a far flung community. How they have
answered this problem — by the establishment of several key depots throughout
the area, the services of each supplemented and tied to the others by a traveling
library van — is shown in a motion picture being completed by H. Norman
Lidster, ACL, chairman of the commission. This unusual experiment in a far
reaching book service has been financed to date by the Carnegie Corporation.
Soon, however, it must be perpetuated by the municipal councils of those areas
it serves. In urging these needed appropriations, Mr. Lidster plans to let his
projector do a lot of the talking.
■ At the Hayes Valley Recreation Center, in San Francisco, Calif., amateur
motion pictures made by the Camera Club have served to record, stimulate
and partially finance the many activities sponsored by this welfare organiza-
tion. Indoor and outdoor sports, social occasions, handcrafts of all kinds and
camping trips (from a one day hike to a three weeks' trip in the High Sierras)
are recorded by the camera group in a newsreel presented monthly to the
entire membership of the center. Public screenings of these films have added
constantly to the group's prestige and financial resources, according to Clifford
A. Nelson, ACL, director of the center. In recognition of their ability, the Hayes
Valley cameramen have been appointed official photographers to the San Fran-
cisco Recreation Commission.
■ Thornwell Orphanage, a two reel, 16mm., film study of Thornwell Orphanage
in Clinton, S. C, made by Willis Osborn, ACL, of Atlanta, Ga., is an extraor-
dinarily fine welfare picture. Mr. Osborn has avoided the pitfalls that endanger
the effectiveness of publicity films. The picture is not overcrowded with detail
and each idea is clearly and adequately presented. The continuity follows the
natural sequence of events in a day but this plan is adhered to only so far as
is useful and no particular point is made of the exact hour of the day at which
any given action takes place, thus avoiding the aspect of artificiality sometimes
evident in films of this continuity style. Mr. Osborn has contrived a very lucid
and appealing picture.
■ The Girls' Friendly Society in New York City is planning a very comprehen-
sive film of its many activities and its numerous branches scattered throughout
the United States. The final picture is to be edited from scenes made by several
different movie makers, working at various branches of the organization. Thus
the material will represent several branches. The continuity will necessarily be
developed in editing, making an interesting problem for the editor's solution.
Practical filming
gives opportunity
for artistic shots
392
f
MOVIE MAKERS
393
We guess that
the depression has got old Felix.
He's wondering how in the world
the grand pictures he made can
be rented for only
But here's the reason
50
Through a special arrangement with Educational Film
Exchanges, Inc. there is now available, from Home
Film Libraries, Inc. dealers, a host of popular pictures
never before available in 16 mm. size
For years Educational has been recognized as
the leading producer of short subjects. Felix
the Cat, Mermaid Comedies, Cameo Comedies,
Bruce Travelogues and Scenics, the famous
Big Boy series of kid comedies, such stars as
Lloyd Hamilton, Lupino Lane, Al
St. John — truly these short subjects
are The Spice of the Program.
Only twice before — and then in a
very limited quantity — has any of
this material been released to the
16 mm. field. But now the whole series is avail-
able. There are, in all, 120 subjects — all either
one or two reels. It is a veritable gold mine of
material for the home movie field.
And all of these subjects are available for
rental at prices which, before, have been un-
heard of. For fifty cents a reel (75c over week-
ends), you can take your pick of these 120
subjects. There is not a poor subject among
them. Every reel will bring many a shriek
from the children and many a chuckle
from the adults.
There probably is a dealer in your
community. Get him to tell you
about these pictures. Look over a
catalog he will have for you. Ask
him about our block booking plan
which brings a choice of these pictures to your
home regularly.*
If there does not happen to be a dealer in
your city, write us direct and we shall see that
these pictures are made available to you. There
is a coupon for your convenience.
DEALERS
Portland
J. F. Gould
Lowell
Donaldson's
Boston
Eastman Kodak Stores
Phovidence
Starkweather & Williams
New Haven
Harvey & Lewis Co.
Fritz & Hawley Co.
Norwich
The Cranston Co.
Bridgeport
Harvey & Lewis Co.
Fritz & Hawley Co.
Hartford
D. G. Stoughton Co.
Harvey & Lewis Co.
Stamford
W. A. McClelland
Jamaica
B. Gertz, Inc.
BlNGHAMTON
A. S. Bump Co.
Summit
Eastman Book Shop
Lancaster
Darmstaetter's
Poughkeepsie
Willheide Movie Service
Albany
E. S. Baldwin
Rochester
Sibley, Lindsay & Curr
Morristown
Ajemian's
Plainfield
Mortimer's
Altoona
Cohen's
Pittsburgh
Jos. Home Co.
Troy
A. M. Knowlson Co.
Buffalo
J. F. Adams Co.
Buffalo Photo Material Co.
Trenton
Dwyer Bros.
Erie
Kelly Studios
Worcester
J. C. Freeman Co.
L. B. Wheaton Co.
Bristol
Lee E. Paulmann
New York City
Abe Cohen's Exchange
Schenectady
Lyon's
Richmond-Norfolk
G. L. Hall Optical Co.
Cleveland
The Halle Bros. Co.
Canton
Roth & Hug
Dayton
Dayton Camera Shop
Toledo
Franklin Printing Co.
Cincinnati
Huber Art Co.
Columbus
Don McAlister
Detroit
Eastman Kodak Stores
News About Our Features
Home Film Libraries are contin-
uing their feature offerings. This
year they will be better than
ever. Watch for our announce-
ment about these new features in
the next issue of MOVIE
MAKERS. They will be avail-
able on our block booking plan.
Newark
Schaeffer's
Philadelphia
McCallum Stores
Williams, Brown & Earle
Wilmington
Butler's
Jackson
Royal Film Service
Milwaukee
Eastman Kodak Stores
Springfield
Harvey & Lewis Co.
Waterbury
Curtis Art Company
Hempstead
Agnew's
Syracuse
Francis Hendricks Co.
MONTCLAIR
Madison's
Reading
A. G. Bowers
Washington
Robbin's
Indianapolis
The H. Lieber Co.
Grand Rapids
The Photo Shop
Terre Haute
Snyder's Art Store
Chicago
Aimer Coe & Co.
Springfield
The Camera Shop
Peoria
S. D. Roake
St. Louis
Erker Bros.
Sioux City
Lynn's
Home Film Libraries
500 Fifth Avenue
INCORPORATED
New York City
* There are still available a few dealer franchises on an exclusive basis (except in
metropolitan centers). Write for information about our money making proposition.
Home Film Libraries, Inc.
500 Fifth Avenue, New York City
Please send your catalogue to
Name
Address
News of the industry
Answers the query,
"What's new?" for
amateur and dealer
B & H objectives
Two new lenses are an-
nounced by the Bell and
Howell Company of
Chicago for use respec-
tively with the popular
Filmo camera and pro-
jector made by them.
Under the most difficult lighting conditions, a Cooke one inch
//3.5 lens provides the ultimate in speed for these well known
cameras. Being one and nine tenths times as fast as the //1.8
lens it provides heretofore impossible opportunities for slow
motion and poorly lighted shots with a lens bearing this
famous name. It
is said to have a
remarkable degree
of sharpness
which has been
felt to be nearly
impossible with a
lens of this speed.
The new Filmo
projector lens is
an objective of ex-
tremely wide an-
gle which gives a
large screen
image when the
distance from pro-
jector is limited.
The aperture of
//4 provides a
brilliant picture
and is unusual for
a lens of such
short focal length.
At twenty four
inches the picture
projected is ap-
proximately 11 by
14 inches and at
36 inches, ap-
proximately 21 by 16. For use in window displays, conven-
tion booths and similar exhibits it should prove invaluable. An
improved, lower priced Filmo projector is also offered this
month in the Model M, which is said to embody three distinct
improvements; the possibility of using either the 300 or 400
watt lamp instead of the 250 watt bulb; a new, square shaped
base which gives greater stability and a non folding assembly
which allows the projector to be removed from the case,
ready for instant service.
Sound Splice ■ -^ splicer for use with the new 16mm.
sound on film system, taking film with
perforations on one side, has been recently brought into the
field by the Craig Movie Supply Company of Los Angeles,
Calif. It is said that the engineering department of RCA has
endorsed it for use with the 16mm. sound film of this com-
pany. A distinct advantage of this splicer is that it may be
used either for sound or silent films. The price is the same
as that of the regular Craig Splicer. The well known Craig Jr.
splicer will be available in a new model with minor changes
for use with the new and already popular 8mm. film
width and will be built along the lines of larger models.
394
Hugo Meyer & Company
Zeiss TeSSarS ■ The we^ known firm of Carl Zeiss, Inc.,
485 Fifth avenue, New York City, has
recently brought out a catalog of excellent format showing
the famous line of Zeiss Tessar lenses. Coupled with some
fine illustrations is a description of lenses suited to both the
movie maker and still photographer. This valuable booklet
may be had by writing Carl Zeiss, Inc.
PhotO tomes ■ ^ unique library of photographic books
has been offered recently by Klein and
Goodman, 18 South 10th Street, Philadelphia, Pa. Any book of
importance pertaining to photography, both still and motion
picture branches, may be had on rental for a few cents a
week. This unusual ser-
vice should prove valu-
able both to profession-
al and amateur.
Home Film iThe
Home
Film Libraries, Inc., 500
Fifth Avenue, New York
City, announces the re-
lease of the full line of
Educational Short Sub-
jects for library use.
Only a small part of the
line has been released
heretofore. A novel ex-
change system franchise
has been worked out for
dealers throughout the
country whereby a com-
plete change of the deal-
er's subjects may be ef-
fected once a month.
The rental rates for this
new service are unusual-
ly low. Dealers may se-
cure full details by writ-
ing Home Film Libra-
ries, Inc.
Cinemeter brings
good exposure to
the camera's aid
Victor
Announce-
ment is made
of an entirely new and
modern series of projec-
tors in the Victor Ani-
matograph line. The
new projectors are designated as the "Model 10s" and will
incorporate the most advanced developments in projector
design as well as all those features which have already made
the Victor line famous. Besides developments such as the
Hi-Power optical system, the Model 10 line will also permit
the use of the modern, high intensity, T-10 projection
bulbs, according to the home office, Davenport, Iowa.
Travel in SOUnd ■ ^ series 0I 16mm. RCA Photophone
travelogs will be released in October
by the Burton Holmes Lectures, Inc., Chicago. 111. These
sound on film features will be sold at the same price as
the present silent features. All 16mm. silent subjects have
been reduced greatly in price which will enable a wider
circulation of these famous travelogs to be brought about.
MOVIE MAKERS
395
Filmo Topics ■ The use of the new
Bell and Howell
color filters as well as some worthwhile
questions and answers on the Morgana
color process are special features of the
August-September issue of Filmo Top-
ics. A sample copy may be had by writ-
ing the Bell and Howell Company. 1801
Larchmont Ave., Chicago, 111.
Cine-Kodak News ■ The new and
startling de-
velopment in the amateur movie field,
the Cine-Kodak Eight, is described in
full detail in the July-August issue of
that attractive organ, Cine - Kodak
News. This publication will be found to
contain material of interest and in-
formation for the amateur. The East-
man Kodak Company, Rochester, New
York, will send a sample copy to any
movie maker.
EnO titles ■ ^ new service offered
the amateur by the pio-
neer 16mm. title builder, Ralph R. Eno,
features a special, inexpensive title of
full Eno quality for twenty five cents.
Such a title may contain up to eight
words and footage for each title will
be adjusted to suit. Further inquiries
as to other titling and editing services
may be addressed to Mr. Eno at 1425
Broadway, New York.
Kodak PupilleBTne adaptation of
a precision, small
film, still camera of German manufac-
ture by the Eastman Kodak company
significantly attests the international-
ism of the hobby and the growing popu-
larity of the type of camera that takes
a large number of pictures of small
size which are then enlarged. This cam-
era, the Kodak Pupille, is made com-
pletely under Eastman supervision,
however, as this company has acquired
the factory which produces the instru-
ment abroad. Sixteen pictures are
taken on a roll of vest pocket film and
the lens is an anastigmat of well known
European make with a working aper-
ture of f/2, providing an unusually fast
objective for still work. Negatives ca-
pable of excellent enlargements are
produced by this lens, as it is provided
with accurate focusing adjustment and
a full range of shutter speeds. The en-
tire outfit includes camera carrying
case, lens with Compur shutter, range
finder, two color filters, cable release
and camera support. The Kodak Reco-
mars 18 and 33 take the form of a new
plate and film pack camera with double
extension bellows, anastigmat //4.5
lens, new type Compur shutter with
built in delayed action, ground glass
back, three plate holders equipped with
sheaths for cut film, film pack adapter,
cable release and exposure table. The
Recomar 18 takes 2*4 by 3*4 pictures
Amateur and professional cinemarographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4,TESSARF2.7andF3.5,TELE-TESSAR F6.3
• FINDERS • FILTERS - SUN SHADES ■
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave.,.NewYork. 728 South Hill St., Los Angeles
%M/
WESTON
EXPOSURE METER
for both STILLS
and MOVIES..
Now you need only one exposure
meter — the new Weston Univer-
sal Exposure Meter. It may be
used with equal accuracy for
both still and movie cameras for
any lighting condition.
It measures the brightness of
the scene or subject . . . and
translates it into the correct
combination of shutter timing
and aperture for any film or
plate speed.
No batteries. No adjustments.
Always ready for use — independ-
$
39
.75
ent of climate, weath-
er and temperature.
Not damaged by direct
sunlight. These are a
fewofthefeaturesthat
the extensive Weston
engineering facilities
have built into the new
sal Exposure Meter.
Simple, reliable, scientifically designed,
the new Weston Exposure Meter reduces
one of photography's most troublesome
operations to simple, exact measurement
. . . and soon earns its cost in films saved.
Complete with hand-
some leather case anil
shoulder strap — in the
United States.
Weston Univer-
LYJttftK
ELECTRICAL INSTRUMENT CORP.
626 FRELINGHUYSEN AVE. • NEWARK, N. J.
396
SEPTEMBER 1932
Vacation Films!
The vacationist is definitely back
in town with reels replete with
activities of camp and hotel life at
mountain resort and seaside.
Reminiscent as these are of a per-
fect summer, they are probably a
bit chaotic. Try sending them to
Ralph R. Eno for Editing and
Titling and impart a vibrant,
story-telling quality to your reels.
Send $2.00 and copy for 2 short-
titles together with Free Test Strip.
FREE
MAIN HAND-LETTERED
TITLE ASSEMBLY
With every reel (any size) sent
in for editing at $10, Ralph R.
Eno will include a set of hand-
lettered titles double exposed over
scenic backgrounds and complete
with "fades" and dissolves. In-
clude copy for titles desired with
each order.
25c
NEW
TITLE SERVICE
A supplementary service for movie
amateurs whose requirements indicate
titling moderate in price, yet typically
Eno in quality.
Send $1.00 and copy for 4 Art Titles.
Titles containing more than 8 words,
3c per additional word.
America's Pioneer (16mm.) Art Title
Builder and Film Editor, Charter
Member ACL
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
and the Recomar 33, a S1/^ by 4^4 size.
Supplementary long focus and wide
angle lenses may be obtained for both
models. This camera will enable the
more advanced amateur to try out pan-
chromatic and other negative materials
for his stills. The fine anastigmat lens
gives very clear negatives suitable for
Cinemeter ■ A new exposure meter
of the visual type is
announced this month, sponsored by
the old established firm of Hugo Meyer
& Co., 245 West 55th Street, New York.
The new device, the Cinemeter, is very
compact and easy to operate. It is in
tubular form, with an eyepiece and ad-
justable magnifier at one end. Looking
into the field of the meter, two reference
figures are discerned; in operation, the
meter is pointed at the subject and the
knurled head of the meter turned until
one of the two reference figures becomes
invisible. The exposure is then read
directly from a scale on the barrel of
the meter. An original feature is found
in the adjustment of the scale, which
proceeds in a series of definite clicks
until the adjustment is reached. Provi-
sion is made in the movable scale for
compensating the original reading to
altered camera speeds, filter factors
and for Kodacolor pictures.
New tripod ■ For use in Producing
rock steady pictures
with the small, compact cameras now
introduced, as well as with any kind of
16mm. camera, there has recently been
introduced the Stanrite Model B tri-
pod, made by the Testrite Instrument
Company, 67 East 11th Street, New
York. The new tripod is built on slim,
modern lines, with no unnecessary bulk
or projections to catch accidentally.
When fully extended it stands fifty six
inches high, is rigid when erected and
collapses into small space when car-
ried. Finish is in polished wood and
chromium, with sliding metal legs.
Remsen S Aluminum blanks of all
sizes for amateur disc
talkie experiments may be had from the
Remsen Corporation, 26 Broadway,
New York City. This company already
manufactures the majority of record
blanks used for this purpose.
Colburn prints
A recent com-
munication,
which will be of interest to everyone
who has the problem of reducing or en-
larging one size of film to another size,
comes from George W. Colburn, spe-
cialist in motion picture printing, of
7228 N. Clark Street, Chicago. Mr. Col-
burn has developed a particularly in-
teresting optical printer with inter-
changeable gearing and heads, and is
well qualified to take care of any prob-
lems of this nature. He has, in the past,
made a successful specialty of trans-
ferring 9.5mm. to 16mm. Bringing his
equipment in step with the most modern
development in home movies, Mr. Col-
burn has announced the completion of
facilities for printing to 8mm. film.
Thus, his services for transferring film
images cover all widths.
RaCOII horn ■ The use of the ex-
ponential horn with
special dynamic unit for the distortion-
less reproduction of sound for home
movie synchronizers was well demon-
strated by a recent test of horns made
by the Racon Company, 18 Washington
Place, New York City. Their horn No.
3115, with five foot air column and
large bell, would seem particularly
suited for "professional" type sound
installations in the home.
MultilenS S. W. ■ Announcement
has recently
been made of a new model of the popu-
lar Stewart Warner camera. Improve-
ments featured in this model include
the incorporation of an interchangeable
lens mount, whereby facilities for using
the fast //1.5 and the telephoto lens
may be had. This new "De Luxe" model
also carries the interesting Magni-
View finder, which gives a six times
magnification to the subject when view-
ing and which will be found very con-
venient for centering, especially with the
telephoto lens. It is said that the same
simplicity and ease of operation are
retained in the new model as are found
in the standard "Hollywood" model al-
ready popularized by this concern, the
Stewart Warner Company, of Chicago,
111. As a further aid to the proper dis-
Fast or tele lenses offered
with Stewart Warner outfits
play of this product on the part of deal-
ers, the company has prepared a novel
"miniature theatre" which is said to be
a reproduction of a large theatre stage
and can be used for counter display to
demonstrate Stewart Warner movies.
An attractive window display will sup-
plement this, if desired.
MOVIE MAKERS
397
IS A REMARKABLE 16mm. CAMERA
}-|| QIREOSUNUGHT
j-lfFiKJANT
WITH
HUGO MEYER //2.8 LENS
INCREASES FILMING HOURS
—WIDENS FIELD OF USE-
FULNESS.
Good results come first — always. Skillful
design — sturdy construction — and precision
workmanship assure good results with the
Simplex Pockette Camera. In addition there
are a number of unique and highly desirable
special features, which make Simplex
Pockette the most remarkable 16 mm.
camera on the market,
Simplex Pockette is light and compact —
easy to carry— so that you take it when you
don't think you'll need it and always have it
when you want it. No shots lost.
Simplex Pockette is the only Camera that
requires no threading. Threading is always
an annoyance even to experienced movie
makers. With Simplex Pockette you simply
open the compartment door, insert patented
Simplex Pockette Magazine, close door and
begin filming. No time lost — no film
wasted.
You can load Simplex Pockette in bright
sunlight and change from panchromatic to
supersensitive film or partially used maga-
zines can be removed or replaced without
loss of film and with no difficulty or delay
— anywhere, anytime. You cant do this
with any other Camera.
SIMPLEX POCKETTE CAMERA is the thinnest, smallest camera of its type, weighing only
37 ounces. It has no protruding parts with the exception of the lens. Is equipped with a vari-
able speed indicator, single picture control, exclusive double spring motor, automatic stop device
and unique pilot pin to insure "rock-steady" pictures, similar to professional cameras.
PRICES $50 - $65 - $75 "
us Government Excise Tax, part of which
s been absorbed by the manufacturer.
INTERNATIONAL PROJECTOR CORPORATION 9^°^il^¥,
398
CINE
ART
16MM. FILMS
Now Ready, Sixteen New
MICKEY
MOUSE
CARTOONS
100 ft. 16mm. $3.50
(Two Subjects)
Mickey Goes to War
Mickey Serenades Min No. 807-A
Mickey's Nightmare
The Big Parade No. 808-A
Mickey's Skeleton Dance
Horace Horse Collar No. 809-A
The Phantom House
Mickey's Jazz Tune No. 810-A
50 ft. 16mm. $1.75
Mickey the Hero No. 838-Z
Mickey's Jungle Escape No. 839-Z
Robinson Cruso Mickey No. 840-Z
Mickey's Spooks No. 841-Z
25 ft. 16mm. $0.90
Tooting the Tuba No. 857-Y
Mickey and Minnie No. 858-Y
Mickey's Clever Stunt No. 859-Y
Mickey's Big Cheese No. 860-Y
10 ft. 16mm. $0.35
Fancy Steps No. 882-X
Sour Notes No. 883-X
Captain Mickey No. 884-X
Mickey Whoopee No. 885-X
Complete catalog of Silly
Symphony, Mickey Mouse
and over five hundred other
films sent on request.
Laboratory Work
Our laboratory, one of the finest and
most complete for both 16mm. and
35mm. work, is now available to do
professional quality amateur work.
16mm. or 35mm. negative developing
per foot 01c
16mm. or 35mm. positive prints, per
foot 03c
16mm. reduction prints (based on
the standard footage) per ft. . . . .02c
16mm. titles, art backgrounds, 3
for $1.00
(Limit 8 words to title, extra words
4 cents each.)
MINIMUM LABORATORY
ORDER 50 CENTS
All work returned to you postpaid
Hollywood Film
Enterprises, Inc.
6060 Sunset Boulevard
Hollywood California
SEPTEMBER 1932
ClOSeups — What amateurs are doing
■ Theodore Huff, ACL, has done it again! That lone wolf producer of Hearts Of
The West has paralleled the gorgeous fun of his earlier panning of the purple
plains as he takes the gangsters for a ride in Little Geezer. The Big Shot, his lieu-
tenant, Greta Garbage (" — more to be pitied than sniffed at*') and Scarf ace Maca-
roni are all there, played by the neighborhood kids, no one of them over eleven
years old. Through their naively serious acting and his own genius at direction and
editing. Mr. Huff has riddled with bursts of laughter the machine gun monarchy
of professional filmdom. In the next issue of Movie Makers, he will tell how to do it.
B At the south end of the Salton Sea, in the Imperial Valley of California, is an
area of boggy ground from which escape jets of steam and hot water strongly im-
pregnated with sulphur. In some places craters of gray and black mud have formed
and, in the tops of these, hot mud bubbles up and spills over. It was here that
Loyd Cooper, of Claremont, Calif., found an unusual subject for his amateur
camera in recording with long, medium and near shot these strange natural mud
pots, illustrated at the bottom of this page.
■ If, during the spring, you tried to get in touch with "America's pioneer (16 mm.)
art title builder" only to find that he was away, it was because he was off on his
honeymoon. We know here at League headquarters, for a few weeks ago we saw
the film record of the trip. And a beautiful film it was, too. a real credit to Ralph
Eno, ACL, one of the League's charter members. Driving leisurely down the
Atlantic seaboard to Miami and thence by boat to Havana. Mr. and Mrs. Eno filmed
as they went and have brought back a splendid record of a delightful trip.
■ Emmet Spicer, Jr., former Southern golf champion, won't have to tell tall stories
about a hole in one he made the other day on a Memphis golf course. He can
prove it. It was a twosome and his companion, Elizabeth Dunscomb, had made
her drive. As Mr. Spicer banged out a shot straight down the fairway, she followed
it with her camera. The ball sailed high and true, struck in front of the pin and
dropped in for an ace. Miss Dunscomb's film didn't run out either, nor did the
spring run down.
■ Amid the torn and trampled swale of an empty meadow a lone man and a
stealthy lion fought, circled and struck at each other in a strange and silent struggle
punctuated only by the sob of their laboured breathing — and the whirr of a
movie camera. Behind the camera crouched Gus A. Brumer, Jr., ACL, and beyond
the meadow was, not the African veldt, but Clinton, Iowa. For the lion was Zimba,
one of the few trained wrestling lions in this country; and the man was Hal
Voelpel, who has trained Zimba for eighteen months ever since he first came to
Clinton as a mascot in an airplane. Mr. Brumer shot three hundred thrilling feet
of this odd wrestling match, closeups and all, and admits he was a little scared
now and then. Voelpel wasn't scared. But, after the bout, he had twenty six
scratches painted with iodine. Zimba had only a sore snout, where his trainer had
punched him when he got too rough and started to bite in the clinches.
■ At the New School for Social Research in
New York City. Harry Alan Potamkin will
present, this fall, a course of lectures on the
motion picture. Mr. Potamkin promises much
new data drawn from his own researches.
Salton Sea mud is
transformed into a
cinematic subject
Loyd Cooper, courtesy Victor Animatograph Corp.
MOVIE MAKERS
399
Set it to film
[Continued from page 379]
important, for if each line is repre-
sented by but one scene from a monoto-
nous viewpoint, the picture will have a
staccato effect. If there is leisure, plan-
ning the scenes to fit with the rhythm
and tempo of the poem is an intriguing
field for experiment. Many of the most
favored of old poems and songs sug-
gest rather commonplace backgrounds.
But any feeling of triteness or common-
placeness can be avoided by selecting
worthwhile compositions and view-
points. The closeup and the near shot
will often tell the story better than a
long shot. Shoot plenty of footage, use
the high points and you will be pleased
with the results. And you will never tire
of seeing the picture on the screen.
Autumn Kodacolor
[Continued from page 380]
that the camera is moving.
In planning the autumn Kodacolor
reel, sunset is one of the most attrac-
tive possibilities. There are two seasons
of the year when beautiful sunsets are
frequent. The first comes from the mid-
dle of April until the middle of May.
The second season comes from the last
of September till the last of October.
Although there are occasional glorious
sunsets during the summer, colorful
twilights and beautiful afterglows seem
most abundant in spring and fall.
Sunsets in color are far from difficult
to make. For half an hour before sun-
set, when no clouds obscure the sun,
the No. 2 neutral density filter should
be used, with the sun partly covered by
clouds, the No. 1 neutral density, when
the sun is only partly above the horizon,
no neutral density. These instructions
assume, of course, that the camera is
pointed directly at the sunset. If the sky
is heavily clouded, exposures should be
made at half speed.
After the sun has set. when only the
afterglow is visible, the regular ratio
diaphragm can be removed for the pur-
pose of letting in more light and ex-
posures can continue at regular speeds.
When the ratio cap is removed, the film
will not give a true reproduction of col-
ors, but the gorgeousness of the result-
ing colors may offset the inaccuracy.
Kodacolor sunsets made over the
water with a boat in the foreground, or
through trees silhouetted against the
golden sky, will earn sincere and en-
thusiastic applause from home movie
audiences.
Color movie opportunities at this time
of the year are so abundant as not even
to require much imagination. A field
of corn shocks against a sky of blue;
a semicloseup of Johnnie making a
NO
EXTRA
COST
to employ
H. E. R. Laboratories, Inc.
16mm. Titles
16mm. Negative Developing
16mm. Reduction and Contact Prints
16mm. Sound-on- film Prints (R.C.A.)
35mm. Negative Developing
35mm. Printing, Sound or Silent
Eliminate guesswork. Assure yourself of the finest
professional results. H. E. R. delivers the same
superlative quality to you that it produces every
day for the major film companies.
At your disposal is special apparatus for trick
printing, the making of duplicate negatives — a
large library of artistic title backgrounds — lino-
type machine, cameras, presses and artists. Also
an expert editorial staff to assemble film in a pro-
fessional manner.
457 W. 46th St., New York Longacre 5-3342-3-4-5
A complete film service under one roof
"EVERY PRINT A SHOWPRINT"
HUGO MEYER
CINE LENSES
FOR PRECISE WORK
COLOR
Has achieved an ultimate present day per-
fection in its correction for the primary
colors of the spectrum.
Kino-Plasmat //1.5
Complete, 1" with Kodacolor Filter. . $75.00
Lens only, for black and white $60.00
TELEPHOTO
By interspersing your film with an occasional
telephoto shot, you relieve the monotony of
your 1" work.
TRIOPLAN f/2.9
2 inch. . . $45—3 inch. . . .$55—4 inch. $63
TELEMECOR//4
3 inch. . . $58—4 inch. . . $70—6 inch. .$95
WIDE ANCLE
Unique combination of speed and wide-angle
properties enables one to make indoor shots
of objects comprising a wide field of view at
extraordinarily close range.
Kino-Plasmat //1.5— 15mm $60.00
Trioplan //2.8— 15mm $36.00
In micrometer focusing mounts.
Comprehensive catalog on request.
HUGO MEYER & CO.
245 WEST 55TH ST., NEW YORK
WORKS: COERLITZ, GERMANY
400
SEPTEMBER 1932
^g^ Allowance
r*z!\ on any Model I
Rlmo70A5
Towards the
Purchase of a
FILMO 70 D
World's finest 16mm. Motion
Picture Camera. 7 speeds.
Turret head for 3 lenses. Pre-
cision built. Priced upwards
from $245.00.
This offer, for a
limited time. Pro-
portionate allow-
ances on other
cameras.
LET'S SWAP ! Or send for
new catalog and Bass Bar-
gaingram No. 209.
BASS
CAMERA COMPANY
179 W. Madison St. Chicago
Camera Headquarters for Tourists
©
TITLES
Cl~*s — ' Complete editing and titling
lYEiTIRJAYf service. (16 mm. or stand-
>Q^ ard. ) Cinematography.
CLARK CINE-SERVICE
203 Professional Bldg. GLendalc 001 1
DETROIT, MICH.
8m/m FANS
Have your 9.5mm. & 16mm. films
reduced to 8mm.
CEO. W. COLBURN
7223 N. CLARK ST., CHICAGO
35 :: 28 17.5 9.5mm. to 16mm.
OUTDOOR NIGHT MOVIES
Now Made Easy
Exquisite night effects at garden fetes —
beach parties and campfires — -unbelievably
beautiful and realistic — are achieved with
"Newmanlite" Flares — the favorite illumi*
nant of explorers and naturalists the world
over. If you desire 100% effectivity ask for
NEWMANLITE FLARES
Booklet and prices on request. ^a
I. C. NEWMAN CO., INC.^
545 Fifth Ave. New York^
Jack o'Lantern from a pumpkin; Hal-
lowe'en; the public market, at the crack
of dawn, when the rising sun casts a
yellow side lighting over the harvest
products on display; fishing and hunt-
ing scenes; cattle grazing in the fore-
ground, offset by an autumn landscape
— figuratively, one has only to open the
lens to let autumn record many glories.
Spring is much farther behind win-
ter than winter is behind autumn. Win-
ter holds gay movie possibilities, but
autumn colors will cherish warmth for
the fireside screen.
An analysis of filters
[Continued from page 381]
and blue light is cut out and conse-
quently the effect of haze diminished.
This filter could not be used with ordi-
nary film, since it absorbs practically
all of the light to which this film is sen-
sitive. The advantages of "pan" film
for photography of distant scenes and
views is now clear, since it allows us
to use deeper filters to penetrate the
ever present haze.
..lllllllllli.
.....iiiiiimillllllllllll,
Figure 1.
Spectograms record ortho,
chrome type and "pan" films
in order illustrated above
Panchromatic and, especially, the
superspeed emulsion have an additional
advantage. Whereas all films are fairly
sensitive to blue light, panchromatic,
by being sensitive to other colors as
well, is better balanced and does not
have an excess of sensitivity in that por-
tion of the spectrum where the eye be-
gins to fail. The blue can, therefore, be
filtered out without subtracting too
much from the total intensity and neces-
sitating large increase of exposure.
The problem of color values is par-
tially solved by "pan" film, but a yel-
low filter should be used to give full
correction since the eye does not see
Figure 2.
Drastic effect of "G" filter
clearly shown by spectogram
wave lengths below 4000 A. U., while
film is sensitive as far down into the
ultra violet as we care to go, being lim-
ited only by glass lenses which become
opaque at 3500, quartz lenses, which
fail to transmit at 2400, fluorite at
1700 and, finally, air itself at about
1000 A. U. A yellow filter, absorbing
some blue and violet will give best all
around results, since the range of the
"pan" will then practically coincide
with that of the visible spectrum.
Let R
over
do it
[Continued from page 383]
the variety groups and the awarding of
the prize for best in show, which usual-
ly takes place in the late afternoon.
During the luncheon intermission,
you may decide to take pictures of in-
teresting exhibits. Breeds which are not
commonly seen are represented at the
larger shows. A word of warning — the
show dog portrait is at its best when
taken with the camera at about the same
level as the dog's head. Most amateurs
have a tendency to point the camera
down at the dog with the result that all
natural proportions of the dog are awry.
The owner will usually be willing to
pose and move the dog for you.
As soon as the judging ring is made
up for the group classes, secure a posi-
tion at one of the corners and have the
sun over your shoulder, if possible. The
best of each breed will be judged for
the best terrier, the best hound, the
best sporting dog. the best non sporting
dog and the best toy dog. The five win-
ners will then compete for best in show.
A four inch telephoto lens will be found
valuable for picking out individual
dogs from the ringside. Follow the last
award with a closeup of the best in
show, which completes your film.
Near viewpoints
[Continued from page 386]
for later any improvement upon the
first result. One may walk around a
cathedral, up and down the belfry, in
and out of the nave, for an hour, search-
ing for a beautiful and novel effect; if
one does not shoot something less per-
fect, one may return to it later, only to
find that it has gone. The slanting morn-
ing sun caught a high relief and cast
MOVIE MAKERS
401
D
16MM.
Equ
SOUND
CUSTOM BUILT 16MM.
PROFESSIONAL CAMERA
• 400 foot magazines
• Four lens turret, standard lens mounts
• Focus-on-film with lOx microscope
• One turn, one picture crank
• Reverse take-up
• Footage Counter
• Frame Counter
• Silent mechanism
• Connection for synchronizing or
motor drive
$650 without lenses
ipment built to individual specifications.
ERIC M. BERNDT _ .
112 East 73d St. I C0L
New York
COLOR
Pu»intYourOwn
I P^FUm Titles
ifA
Stationery, Cards, Bookplates,
advertising, greeting cards etc.,
Easy rules furnished. Complete
Outfits $8.85 op. Job Presses $11 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
catalog- and all details. The Kelsey
Company, W-48, Meriden, Conn.
Have your
T
I
T
L
E
s
expertly
made by
a
NEWSREEL
CAMERAMAN
8 words 25c
VI o it ■
W % B I O IW
1791 Pine St.,
Birmin
gham,
Michigan
CRAIG JR.
SPLICER *5
Now available for use with both 8 mm
and 16 mm films.
CRAIG SPLICER $I5
^ Now available in 1 6 mm size for use
with either silent or sound on film films.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the Bast
rounded shadows, where now the full,
flat sun barely leaves the outline per-
ceptible. The rough facade of a build-
ing, the trunk of a tree, the rope from
which hangs the old oaken bucket, re-
quire almost a right angle lighting to
yield their full texture. Photography is
not so much picturization by light as
picturization of light as it is made vis-
ible by the contrasting shadows. The
cinematographer who has become tired
of recording mere buildings, objects or
people has a great thrill in store for
the day when his eyes are opened to the
full meaning of that word "texture." In
one's home town, by returning to the
same scene in all weathers and at all
hours, one may eventually secure a per-
fect picture. When traveling, the near-
est approach to such perfection will be
found in exploring for new angles.
One may not have time enough to wait
for a setting sun to illuminate an arch-
way, but one may find another archway
on which the light is just right at the
instant. Foot work is as important as
exposure. There was no great improve-
ment in newsreel photography until the
cameramen were given helpers; no
longer obliged to lug their heavy out-
fits, they roamed about for new angles
and found them.
Variety of points of view makes in-
teresting conversation, interesting de-
bates; it also makes interesting films.
A scene should not be considered prop-
erly shot until one has walked com-
pletely around it and, if possible, viewed
it from above and from below as well.
It is a poor subject that cannot yield
more than one good angle.
The clinic
[Continued from page 384]
grounds for use with this method by
the simple expedient of placing a piece
of photographic printing paper in the
still camera instead of the ordinary film
or plate. By giving a short time ex-
posure, the scene is impressed on the
paper as a negative, which becomes
visible when the paper is developed in
the usual way. This paper negative is
used in the title maker with black let-
ters to make the positive title. Either
an actual scene or any regular title
background, such as is found in Movie
Makers, may be photographed in this
way. Using Azo No. 3, or a paper of
similar speed, Mr. Jaques finds the
average exposure time to be about one
second in bright sunlight with a stop
of //4.5. The best results with any
specific camera can be found by ex-
periment, as the paper is inexpensive
and easy to handle in a red or amber
safelight. Copying from a photograph
in artificial light, the exposure was
found to be one and one half minutes
announcing
THE
DREM
CINEMETER
TheNewExposureMeter
For All Cine Cameras
Drem, the pioneer of visual exposure me-
ters, now appears in a new form. This
edition of the famous meter is light and
compact and gives you the correct ex-
posure setting for all makes of cine cam-
eras— under every condition of natural
and artificial light and with the use of
any film speed or filter factor. Accurately
calibrated for both black-and-white and
Kodacolor work, the Drem Cinemeter is
operated simply by placing it to the eye
and turning the knurled end until one
of the two numbers visible disappears.
The exposure stops are then read directly
from the barrel of the instrument. But
3" in length, the Drem Cinemeter is a
marvel of compactness and lightness. It
is furnished in fine sole leather case
readily attached to belt, button or camera
strap.
Price, $8.50
Circular on Request
oo
U. S. Distributors
HUGO MEYER & CO.
245 West 55th Street, New York
402
SEPTEMBER 1932
EXPOSURE
AND DISTANCE
IN ONE METER
io
GRACOPHOT
CRACOPHOT, the first tubular meter for
the visual determination of correct exposure
and accurate distance, displays — at a glance —
both readings in its finder field. Equally ad-
vantageous in still and cine photography, by day-
light or artificial light, it is a universal photo-
metric device operating with absolute reliability.
The scales are indelibly engraved on the chro-
mium plated surface, rendering them impervious
to conditions of moisture and dust. Unique, ac-
curate and well-made, it is easily manipulated
and its design is such that focusing ring and ex-
posure setting cannot possibly be confused.
BURLEIGH BROOKS
127 WEST 42nd ST., NEW YORK
IDTEHS,
WITH ANY CAMERA
produce MuontiijM mi N19M Efforts in tiiytin*
hjSrati- uiffunirmas ani many »ll»r «ffrcts.
Ask your dealer, or ■write to
GEORGE H.SCHEIBE
ORIGIXATOIJ OF EFFECT FILTERS
TITLES Moving Backgrounds
now only 35e for 8 words. Rolling clouds, running
water, Niagara Falls, etc., used as backgrounds. Guar-
anteed perfect.
Old Quebec 100 ft. 16 mm., $2.90
Write for literature.
H. C. FILM SERVICE
12191 ILENE AVENUE DETROIT. MICH.
SWAP YOUR REELS
At NAVILIO'S....
This Library, the first to exchange films, still
provides a guarantee that you will always
get films of quality . . . When your present
library films become tiresome, Navilio will
exchange them for equal or better films of
the same length, at the rate of
$1 .00 per 400 foot reel
-plus return -postage
Send 10c for comprehensive catalog.
NAVILIO FILM RENTAL LIBRARY
To Members
5 to 9 reel feature $1.50 per day
Send for membership blank
To Dealers: Write for details on unique and
interesting service ... 25 features during year.
Open Daily until 9 P. M.
J. NAVILIO FILM EXCHANGE
1757 BROADWAY BROOKLYN N.Y.
at //4.5, using one Photoflood lamp
held at fifteen inches from the picture.
The advantage of this process is that
pictures of odd size may be reduced to
the exact dimensions required by the
title writer. India ink may be used to
letter the prints, or white letters may
be pasted on the dark background be-
fore copying.
Tripod steadier ■ Many movie
makers n o w a-
days carry with them one of the popu-
lar, precision, miniature still cameras
with which to make pictures to com-
plement their cine shots. H. W. Voss,
ACL, of Wyoming, follows this prac-
tice and believes, moreover, that the
best movie and still shots are those
taken from a tripod. He finds he can
make use of one of the lighter, folding
tripods used for still work, both for his
stills and movie shots. To adapt the
tripod for the more exacting work of
cinematography, Mr. Voss simply
hangs an ordinary sash weight under-
neath the tripod head, so that it hangs
down from the center like a plumb bob.
Asked and answered:
Q. One of my recent rolls of Koda-
color film has very weak colors, much
as if it had faded. The exposure seems
correct.
A. One of the common causes for this
lack of color is the turning of the color
filter from the vertical position. Some
cameras provide a locking device which
prevents the filter from turning and
throwing the color bands from the ver-
tical. If your camera is of this type it
would be well to send it to the factory
and have it checked up. In the other
case you may make the adjustment
yourself. Looking at the filter from the
front the colors are blue, green and
red from left to right. The lines sepa-
rating the colors should run vertically,
that is, parallel to the edge of the film
in the gate.
Q. What is the black backing which
seems apparent on the film when un-
exposed? When projected, the film
shows no trace of this color.
A. The backing as used on 16mm.
film is an inert dye which is removed
in the processing. It is most effective
in preventing halation or the "spilling
over" of the light reflected from a bril-
liant object into the dark areas of the
picture. This often occurs when shoot-
ing inside with a window in the scene
through which a great deal of light is
LeRoy passes ■ lt is our melancholy
duty this month, in-
stead of recording another anniversary
of Jean A. LeRoy, to bring to our read-
ers notice of the passing of that pioneer
figure in the motion picture field. Mr.
LeRoy was the first commercial exhibi-
tor of motion pictures in America and
it was original work on his part which
laid the foundation for the tremendous
fabric of the professional and amateur
motion picture of today. Mr. LeRoy was
in his seventy eighth year at the time of
his death, August 9, 1932, and is sur-
vived by his widow, to whom we extend
our sincere sympathy. He was an hon-
orary member of the Society of Motion
Picture Engineers and was affiliated
with many other organizations in the
motion picture field.
Fill
i
imer up
[Continued from page 385]
shots, which could include the pennants
fluttering against the sky or the like but,
during the shooting of the game action,
it would be better to dispense with them.
In baseball it is difficult to predict
just what will happen and when or
where to expect it. However, if you are
fortunate in obtaining permission to
remain on the field, or if you are film-
ing an informal game at a picnic or out-
ing, you will find most of the action is
at the infield. It is suggested, therefore,
that you take up your position some-
where between the third base and the
home plate. From this position you can
easily get any action occurring at the
batter's plate or the pitcher's position,
and you will be able to follow any play-
ers running the bases.
The wide angle lens, when used from
this location, will take in the entire dia-
mond, giving you an opportunity to film
the activities of all the players. Excel-
lent closeups of any player can be ob-
tained by the use of the four inch tele-
photo lens, while, for following a player
who is making a run, a two inch lens
is advised, as it will take in sufficient
area to include not only the runner but,
when the runner reaches the base, which
is his goal, it will include the man on
base as well.
Hence any action occurring at the
goal will be in the picture. Be very care-
ful in such follow shots to hold the
camera as steadily as possible and keep
the subject in the center of the finder.
You have often read that a good plot
is one with few titles in the finished reel.
Let the action tell the story. If you use
the first scenes as suggested, no main
title will be necessary. Neither will
other titles be necessary if the follow-
ing procedure is used. At the end of
each inning, film a few feet of the score
board. This will tell a story all its own.
Life can be added to the film by keep-
ing your eyes open and filming occur-
rences, such as the crowd registering
contempt over a bad play or express-
ing enthusiasm over a thrilling one.
If your camera is equipped for mul-
tiple speeds, some good slow motion
MOVIE MAKERS
403
shots, such as the "Babe" hitting a
homer or a player sliding to a base, will
add materially to the value of the pic-
ture. Monotony can be avoided by an
occasional scene of the peanut, soda
and ice cream venders hawking their
refreshments, the newspaper men at
work at their telegraph keys on the
press stand, the fat man fanning him-
self in an effort to keep cool or the
young couple, more concerned about
each other than the game.
In conclusion, shots of the final score
board and scenes of the crowd in its
rush from the grandstand to the field,
the excitement on the field, the crowd
leaving the ball park and heading for
the street cars, taxis and automobiles
will complete the film.
Step up,
now, everybody!
[Continued from page 387]
is undertaken. Always keep in mind
that there are sixteen pictures to the
second and two and one half seconds to
the foot. Furthermore, depending upon
the amount of action in the scene, three
seconds is a long time on the screen.
Constant intersplicing of closeups —
call them glimpses of expression — will
also keep up the tempo. For example,
in a carrousel sequence, the cutting in
of shots of the drumsticks beating and
the cymbals striking, with the bobbing
of the horses and expressions of chil-
dren riding, serves to convey the gen-
eral noise and good fun of the whole.
Country fairs may be handled in
much the same manner. The film will
be of a slightly slower tempo but can
deal with more character studies in-
stead of continual scramble. The
eternal spinning of the wheels of
chance can furnish a theme note in
either topic.
Amateur clubs
[Continued from page 388]
gram the outstanding members' films
screened included an eight reel picture
of a safari by auto truck through West
Africa and French Guinea, by Madame
Lebaudy, ACL; a two reel record of the
prize fight in Paris between the Amer-
ican, "Gorilla" Jones, and the French-
man, Thil, by M. Valdes; and an ex-
change film from the Amateur Movie
Club of Genoa, Italy.
Milk bottle ■ In California, the
Richmond Camera
Club has put on a demonstration of
16 mm. sound on film and of home de-
veloping centering about a milk bottle
as the chief bit of apparatus, a scheme
worked out by H. McKay, of the San
Francisco club. Unusual pictures of
A Pleasant
Surprise
Awaits You
with the lowest
price 100 ft. camera
on the market
with //3.5 Ilex diaphragm lens
$35.00
(with //1.5 lens at $67.50)
100 ft. capacity
Spring motor driven
Film footage register
Audible footage signal
Tripod connection
Light weight
Size, 9" high
A Proven Success!
KEYSTONE
KEYSTONE MFG. CO.
BOSTON, MASS.
ne-w
FiLm
AT A
LOW
KIN -O- LUX
SAFETY FILM
$3.00
INCLUDING PROCESSING AND SCRATCH-
PROOFING BY THE TEITEL METHOD
We present Kin-0-Lux, a fine grain, contrasty and semi-chromatic
reversal film which provides the user with a carefully manufactured
medium at only $3.00 per 100 feet. It is recommended that Kin-O-Lux
be used without filters and under favourable light conditions, as indi-
cated by exposure guide contained in each package. These limitations
are, however, definitely compensated for by the excellent results
afforded under such conditions, and by the considerable- saving which
the movie maker effects in his film expenditure. A radical departure
is indicated by an, additional service. Every film after processing in
our own laboratories, is treated by the Teitel Scratch-Proof method
which hardens it so that with ordinary usage it will not scratch.
This also prevents the film from shrinking and buckling.
If you cannot obtain Kin - O - Lux rom
your dealer, send us his name and $3.00
CHICAGO OFFICE: 806 WABASH AVE.
KIN-O-LUX INC. I05W.^0 7T. NEWyOfcK,
404
SEPTEMBER 1932
We will make sample title "Photography by
(your name)" for 25c.
Or purchase from us a Simplex Fading Glass,
Price $2.00 and receive 2 free titles, 8 words
or less each. Also special offers on Reel
Packs, Rhamstine* Electrophots and Film
Editors and Craig Splicers. Write for details.
We do 16mm. developing and printing
Member ACL
J. C. HAILE & SONS
Motion Picture Dept.
215 Walnut St. Cincinnati, Ohio
MCUf MOGULL BROS. |JCU»
II U If 16MM. PRODUCTIONS ll C Iff
"Cocktail Time In Cuba." 100' $3.50
25' (Each) 85c < 400' ( Each) .$12.75
Pushing Horse S Barber's Wife
Exploding Volcanoes > ^ot cakes
B«&?lSpn.,...l
Boxing Kangaroo J Barnyard Romance
Cuban Rhumba 5 Deep Stuff
Jap Top Spinners ) Fun in a Pullman
R RFFL SON OF THE DESERT
FPiTiiXrA CHILD FOR SALE
FEATURES blue bird. jr.
Silent: I00 Ft. $3 UrUI Universal 400 ft.
400 Ft. $8 REIT Disc Sound $13.95
DRTUCy Raw F,lm Magazine & Proc, $1.49
I fl I I1CA 9l/2mm. 30' film, 45c; 60 feet, 90c
Beaded 30"x40" Screen on Roller $4.86
400' Reels 38c Humidor Can 45c
Home Talkie— Sound Attached $17.49
EASTMAN spiking outfit. . . $i.28
If I A TT AQ 1 3.5. Camera and Case... $75
Vlll I U II Animatophone Talking Pro-
jector $285
SIMPLEX Lr,mcmaseCas.e.tte..Proiecto: $75
Eastman M.9B.B.||Arn Filmo B.H. 70 A
Camera $54.50 (J O C U Camera &. Case $65
LIBRARY CQCC NO
MEMBERSHIP rllCC DEPOSIT
Mogull Bros., 1944 Boston Rd.,N.Y.C.
Economy in 16mm.!
You can make sharp, satisfactory 16mm.
movies by using
FOTO- CLEAR
Daylight Loading
safety film. An emulsion of the positive
type, reversed by our exclusive method.
Not a panchromatic film, but satisfaction
guaranteed if instructions are followed.
Not to be used with filters.
100 ft., postage and processing $3.85
ART MOVIE SERVICE
44 W. 33 Street, Dept. D.
Bayonne, N. J.
NEWS FOR
AMATEURS
Print Your Films
with this NEW small
AUTOMATIC
STEP-PRINTER
ARRI 16
made by
Arnold & Richter
Moderate price including motor
for details write to
C. F. WILD, Box 177, Flushing, N. Y.
F. REICHEL.3915 W. 3rd St.,Hollywood,Cal.
the dirigible Akron, filmed by Joseph
Barton, were outstanding among mem-
bers' films which were presented. Eyes
Of Science, noted in Movie Makers
listing of superlative amateur films in
1931, was also screened. At a later
meeting. Walter T. Helms, Richmond
Superintendent of Schools, screened his
film of a trip to the Hawaiian Islands
and the club's special animated leader
was demonstrated. Divided into still
and cine sections, the Richmond club
serves both kinds of hobbyists, and has
recently voted John W. Lee prize win-
ner in a still photo exhibition. M. A.
Garland, Fred Dunning and Garland
Howard comprise the program commit-
tee for coming meetings.
Bergen contest ■ To secure a plot
theme for its
first production, the Bergen County
Cine Club, meeting in Englewood, N. J.,
has been conducting a scenario contest
open to all residents of the county.
Mark A. Borgatta, Theodore Huff, ACL,
and Oscar C. Bucheister are serving as
judges in selecting the winning script,
and a print of the finished production
made from this script will be presented
in reward to its author. A comparatively
recent group, the Bergen County club
now numbers sixteen active members.
Mrs. John Kinsey, of Teaneck, N. J., is
serving as temporary secretary until the
election of officers this month.
An OUting B Fifty members and
guests of the Boston
Cinamateur Club gathered at Hough-
ton's Pond. Mass., for the club's first,
and highly successful, outing. Still and
motion pictures were made of the many
sports and events which included horse-
shoe pitching, a potato race, a three
legged race and a tug of war between
the movie group, headed by George
Lakschewitz, ACL, and the still group,
headed by Tom Patten, ACL. The
movies won. The several sections of the
cine record made of the outing will be
edited together and screened at a com-
ing program meeting.
School Club ■ Resuming activities
with the opening of
school this month, the Amateur Cinema
Club of Rutland (Vt.) High School
goes into the new year with Franklin
Burditt, ACL, reelected president;
Rapheal Ellwood, vicepresident; Rose-
mary Thomson, secretary; and Edward
Bingham, treasurer.
See "Eights" ■ Cine-Kodak Eights,
camera and projec-
tor, were discussed and demonstrated
by J. J. Fisher of the Eastman Kodak
Stores, San Francisco, at a late meet-
ing of the Greater Oakland Motion Pic-
ture Club and these interesting new in-
struments were described editorially in
Camera Action, news letter of the Oak-
land society. Copies of Reward, recent
club production, are being purchased
widely by individual club members and
will also be offered on the rental lists
of local film libraries.
British amateurs
Derby ticket ■ The Wimbledon
Amateur Cine Club
has completed its second production, a
comedy drama telling the story of near
tragedy, as a winning ticket for the
Derby is all but lost in the sale of an
old coat to the rag man. After a weary-
ing chase, the ticket is at last recovered,
the prize claimed and everyone is hap-
py but the rag man. A third production,
on 16 mm. film, is now under way. The
Wimbledon group were recent guests
at an enjoyable film party given by Ace
Movies at Brixton to members of Lon-
don cine societies. Production activities
will be undertaken at once on three new
projects: The Great Dope Mystery, a
detective story, to be directed by R.
Harrington-Moore; The Sentimental
Tragedy, a working title, to be directed
by J. Nunn; and Murder, to be directed
by A. Cappell and E. W. Grote. Elab-
orate '"interiors" out of doors have been
arranged by Mr. Harrington-Moore, ac-
cording to secretary H. C. Bealby.
New quarters ■ The new club
rooms and ama-
teur cinema theatre of the Sheffield
Amateur Film Club were opened this
summer to an enthusiastic capacity
audience and promise to be one of the
finest centers of home movies in the
district. The Land Of The Midnight
Sun, by Arthur D. Hobson; Happy
Days, picturing a motor trip through
England, by W. Crookes; and The Ro-
mance Of Pearl, an amateur publicity
film, by J. W. Gillott, were featured
among the members' films projected
at the premiere. Peter A. LeNeve Fos-
ter, ACL, and his wife, Ruth LeNeve
Foster, of the Manchester Film Society,
brought the greetings of their group
as well as a reel of Mr. Foster's un-
usual animal studies at Whipsnade, an
added feature of the program.
UnUSUal ■ A running fight at night
across the roofs of a steel
factory, an elaborate night club and a
scientific laboratory are outstanding
scenes in One Half The World, to run
2000 ft., 16 mm., the current produc-
tion of the Bolton A. C. A. Leading parts
in this feature length drama are being
played by Miss M. Andrews, Miss L.
C. Bowe, G. N. Booth, ACL, and R. B.
Hamer. A. V. Booth will direct while
W. Warburton and S. C. Steele, ACL,
will be in charge of photography.
MOVIE MAKERS
405
GOERZl
FOCUSING LENSES
Enhance the Performance of Your
Simplex Pockette
Kino-Hypar //2.7-1
offers more than 50% increase in speed
— unlimited increase in efficiency to
users of the Simplex. Provides possibili-
ty of closeups up to 3 ft. $35.
Kino-Hypar / 3-2
for long: distance work and closeups in
sport, travel and general cinematog-
raphy with the Simplex Camera. $45.
Slight charge for fitting
Your regular //3.5 lens can be made
interchangeable with either of these
lenses.
Booklet on request
Sales Tax Absorbed by Us
C.P.CoerzAmericanOpticalCo.
317 EAST 34th ST., NEW YORK CITY
16mm. SERVICE
PHOTOGRAPHY AND PROJECTION
for the varied requirements of
INDUSTRIAL. INSTITUTIONAL and
WELFARE WORK
Special Rates to Charitable Organizations.
Our Service is Prompt. Efficient and
Reasonably Priced.
NEIL P. HORNE
1425 Broadway, New York
PEnn 6-2634 Telephones PEnn 6-7747
IN
GASH FROM YOUR SNAPSHOTS
Magazines, Newspapers, Adver-
tisers pay millions yearly, for
the photographs they print, and
are eager to buy more.
Wherever you live there are
subjects for thousands of inter-
esting pictures that you can
make, and sell. Make good in-
come in spare time with your
camera. Quick sales of photo-
graphs are being made regularly by U. P.
members everywhere after only a few
weeks of delightful, easily understood in-
struction by mail in Journalistic Photog-
raphy ; now available at low cost. Write
today for Free Book and full details of
V. P. picture marketing service.
UNIVERSAL PHOTOGRAPHERS CORPORATION
10 WEST 33rd STREET, DEPT. 140J, NEW YORK
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
rnCC CI I KAC m. 'J lu-se films, ou 16, unless
rlVCC rlLiVljS 35mm. is specified, are
loaned free except for payment of postage. Re-
quests should be addressed to the Amateur Cin-
ema League, Inc., 105 IV. 40th St., N. Y. C,
and films desired mentioned by titles. Requests,
on receipt, are forwarded to distributors who
get in touch with applicants and make booking
arrangements. Specific dates cannot be promised
until the applicant hears from the distributor.
Do not send postage with requests; when it is
required, the distributor will notify the appli-
cant. Of course, films should be returned post-
paid. Some films are limited to groups, in which
cases it is so stated in the reviews. In applying
for films limited to groups, the type a?id prob-
able size of the audience must be mentioned.
Films are not available outside of the United
States, unless so stated. Any amateur may apply
ior films reviewed as this service is not limited
to Amateur Cinema League members.
■ Behind The Oil Cargo, four reels,
16 mm., produced by the Frederick K.
Rockett Company and reviewed through
the courtesy of Union Oil Company of
California, takes one "back stage" in
the production of crude oil from the
time an oil well site is determined,
through the various steps of mining,
until the product is finally shipped in
tankers. This interesting film includes
a closeup of a gusher in action.
■ Westward Ho!, one reel, 16 and
35 mm., reviewed through the courtesy
of Ray-Bell Films, Inc., shows the thrill-
ing scenery that may be viewed from a
train traveling from Chicago to the
Pacific Northwest over the route of the
North Coast Limited. This film should
interest both those who know that part
of the country and those who have
never been west of the Great Lakes.
Chapin gets cabinet post
B The Amateur Cinema League has a
special interest in the recent appoint-
ment of Roy D. Chapin to the office of
Secretary of Commerce of the United
States by President Hoover. Mr.
Chapin, a pioneer among personal
movie makers, was among the very
earliest life members of this organiza-
tion and was elected as one of its pio-
neer directors on its establishment in
1926. He served as a director of the
League until 1930, when, at his own re-
quest, repeated several times, his resig-
nation was accepted. Mr. Chapin re-
gretted leaving the Board but his very
large obligations to the good roads
movement of the country, followed by
his heavy duties with the Automobile
Chamber of Commerce of the United
States, necessitated his limiting the
calls upon his time and effort.
Mr. Chapin is a young man, born in
1880 in Lansing, Michigan, and edu-
cated at the university of his native
state. He is a pioneer in the automotive
industry and is chairman of the board
of directors of the Hudson Motor Car
Company. In addition to his business
leadership, Mr. Chapin has been promi-
nently identified with social service and
cultural enterprises.
The League congratulates the coun-
try and the Government on the acquisi-
^ttATMiN
r i in is
Announcing
a new line of Stock Titles
for your summer films —
The main titles have artistic
picture backgrounds suggestive
of the scenes to follow. The
subtitles are printed in a mod-
ern type face on a plain black
background.
The price — 15c each for either
main titles or subtitles.
Minimum order — seven titles
for $1.00.
Write for list of 100 different
title wordings.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave., New York, N.Y.
N
ew
N
ew
N
ew
SKINNER
Exposure Meter
without batteries
This meter does not re-
quire batteries — a unique
distinction — and it covers
the entire range from
f/lA to f/64.
Scales available for motion pic-
ture and still work.
IT TAKES THE GUESS OUT OF
PHOTOGRAPHY
Price— $48.00
Sole Distributors
SPINDLER 8c SAUPPE, INC.
SAN FRANCISCO LOS ANGELES
86 Third Street 811 W. Seventh Street
Write for literature
406
SEPTEMBER 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Carry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink & Son, Shattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive. •
Fresno: Potter Drug: Co., 1112 Fulton St.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Hollywood: Bell & Howell Co., 716 N. LaBrea
Ave.
Hollywood Camera Exchange, 1511 N. Ca-
huenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
HOLLYWOOD FILM ENTERPRISES, INC.,
6058 Sunset Blvd.
Huntington Park: Huntington Park Camera
Shop, 6508 Pacific Blvd.
Huntington Park Pharmacy, 6101 S. Pacific
Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Eastman Kodack Stores, Inc., 643
S. Hill St.
Educational Project-O Film Co., 317 N.
Fairfax.
John K. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
B. B. Nichols, Inc., 731 S._ Hope St.
Schwabacher-Frey Stationery Co., Box 1347,
Arc. Annex.
Tappenbeck & Culver, 10958 Weyburn Ave.,
Westwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Monrovia: Cliff's Photo Art Shop.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: The Flag Studio, 59 E. Colorado St.
Richard Fromm Photographic Service, 965
S. Fair Oaks Ave.
F. W. Keed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
Phil Lasher, Ltd., 300 7th St.
San Francisco Camera Exchange, 88 Third St.
Scliwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Rafael: Webb & Rogers, 4th and B Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: Camera Shop. 800 State St.
J. W. Collinge, 1127 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop, 404-16th St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Heim's Music Store, Inc., 221 Main St.
Hartford: Harrison Harries. 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 81S-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: McDaniel Gift Shop, 21 W. For-
syth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
Pocatello: Cook Drug Co., 333 W. Center St.
ILLINOIS
Chicago: Associated Film Libraries, Inc.,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co.. 78 E. Jackson Blvd.
18 So. La Salle St.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 W. Washington St.
Post Office News Co., 37 W. Monroe St.
Stanley-Warren Co., 918 Irving Park Blvd.
Wolk Camera Co., Opp. Post Office, 219 S.
Dearborn St.
Danville: Plaster Drug Co., 108 N. Vermilion
St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc.. 702 Church St.
Freeport: Emmert Drug Co., 15 W. Stephen-
son St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., 112 W. Wayne St.
Frankfort" Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd & Jefferson
Sts.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
W7esting Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing Inc., 421 Sixth St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St.
Dadmun Co., 39 Washington St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co.. of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian. 411 North St.
Salem: Pitman Movie Service. 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Worcester: J. C. Freeman & Co.. 376 Main St.
Harvey & Lewis Co., 513 Main St.
L. B. Wheaton. 368 Main St.
(Continued on -page 408)
MOVIE MAKERS
407
USE
ART
OH smart designs
OU and styles to
suit all occasions.
*"^^^™^^ Use as many as you
TIT I CC like, without extra
ill Ibp&^P charge. Exquisite
^^™ ^^^^™ "^^" type style. Brilliant,
clear, clean-cut letters. Ample footage.
Quality and uniformity positively guaran-
teed. Any title 8 words or less 25c. Extra
words 3c each. Minimum order $1. Send
today or write for fully illustrated folder
showing all styles and designs.
ART TITLE GUILDE
5519 Broadway, Chicago, III.
For your 16mm. Movie Camera
A SPECIAL
PRICE $3.75
Daylight loading 100 feet
This price includes Free Processing with a negative and
a positive print. Also Parcel Post charges.
future Straube Film Lab. TOgf^ ^i?!
The Centre
of Sydney
The Social Life of the Second City of
the British Empire revolves around
this famous hotel. Delightfully con-
venient to shops, theatres and busi-
ness houses. Magnificently illustrated
booklet for tourists free on request.
Wireless Address: Austraotel, Sydney.
THE AUSTRALIA HOTEL.
The Hotel of the Commonwealth
Sydney, N.S.W., Australia.
WE PRESENT
THE WESTON UNIVERSAL
Exposure Meter
We have it. Let us show it to you
Phone
Circle
m
bSo«s.„
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
BENEFIT by BINDERS
Make secure your year's issues of
1 MOVIE MAKERS in lasting and readily
>< accessible form.
',< $1.50 each. $.30 additional for
!< Canadian and foreign postage
>;
i AMATEUR CINEMA LEAGUE, Inc.
|! 105 West 40th St., N. Y. C.
tion of so effective a cabinet officer as
Mr. Chapin and hopes that he will find
some time, in the midst of his govern-
mental duties, for the movie making
that lies so close to his heart.
Featured releases
| This defartment is for the conveniejice of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examined by Movie Makers.
■ Bell & Howell Co., Chicago, 111. Included
in the recent catalog' of the Filmo Library is an
extensive list of travel subjects which should
appeal to movie makers the world over.
| Eastman Kodak Co., Rochester, N. Y. The
most recent additions to the Cinegraph list are
Charlie Chase in Bad Boy, Clyde Cook in Leave
By The Fro?it Door, Our Gang: in Sight Seeing
On Broadway and Laurel & Hardy in Right
Dress.
■ H. C. Film Service, Detroit, Mich. This
company offers a new 100 foot film, Old Quebec,
among" others.
■ Hollywood Film Enterprises, Hollywood,
Calif. Sixteen new Mickey Mouse cartoons have
been added to the catalog of over 500 subjects
which include the Silly Symphonies as well as a
variety of other films.
■ Burton Holmes Lectures, Inc., Chicago, 111.
A new series of 16mm. sound on film travelogs
for use with the RCA Photophone is announced
this month.
■ Home Film Libraries, New York City.
Through a recent arrangement with Educational
Film Exchanges, Inc., this company can now
offer 120 popular pictures never before available
on 16mm. These are reductions of the Educa-
tionl Pictures so often seen in the professional
theatres.
■ Kodascope Libraries, New York City. Fight-
ing Eagle with Rod La Rocque, Phyllis Haver
and Sam De Grasse, Never Weaken with Harold
Lloyd and Soldier M a?t with Harry Langdon are
the September offerings of this library.
| Mogull Bros., New York City. This dealer
has added the 5 reel features, Son Of The Des-
ert, Child For Sale and Blue Bird, Jr. to his
extensive list of films.
■ Willoughbys, New York City. A catalog of
Willogram Productions is available which in-
clude golf films of Gene Sarazen and tennis
films of Bill Tilden as well as many comedies.
League staff changes
Following the appointment of Arthur
L. Gale, ACL, as editor of Movie
Makers in May of this year, a number
of changes in assignment of staff mem-
bers of the Amateur Cinema League
and of Movie Makers have been made.
Russell C. Holslag, ACL, who has, since
1929, been the League's technical con-
sultant has been advanced to the posi-
tion of advertising manager of this
magazine, retaining, however, a rela-
tionship with the technical work of
League headquarters. James W. Moore,
ACL, who has been assistant continuity
and club consultant, assumes full re-
sponsibility for that department. Fred-
erick G. Beach, ACL, is a newcomer to
the staff as technical adviser of the
League and technical assistant of
Movie Makers. Mr. Beach was former-
ly connected with the Eastman Kodak
Company, as a member of its service
technical staff.
hi w ,A=sr
Loaded with listings of today's best buys in Cam-
eras, Kodaks, lenses, etc. Send for your copy!
32 PACES of remarkable values
Here are a few samples:
16mm., Cine-Kodak model B
with f/1.9 Lens $ 69.50
Eastman Model C Kodascope
complete $ 46*50
3-3/4" focus Cooke //3.3
Telephoto Lens with Filter .
and Case complete §Ol*50
All items guaranteed and sold on ten days' trial.
ASK FOR CATALOG NO. 42
Listing new goods
TEN DAYS' TRIAL or MONEY REFUNDED IF
NOT SATISFIED
CENTRAL CAMERA CO.
Dept. MM-9F
230 S. Wabash Ave., Chicago, III.
t
BURTON HOLMES
LIBRARY FILMS
All 16mm. Silent
Subjects Reduced to
$5.00 per 100 feet
and NOW
A new series of
16 MILLIMETER
SOUND-ON-FILM
TRAVELOGUES
will be ready for release
OCTOBER FIRST
at the same price you used to pay for
silent films.
FULL REEL $24.00
R-C-A-VICTOR Photophone recordings
Write for description of these new
subjects.
BURTON HOLMES LECTURES, INC.
7510 N. ASHLAND AVE.
CHICAGO, ILL.
AMATEURS!
Keep step with the latest developments in
Cine and Still photography. Visit our cen-
trally located store. We buy, sell, and ex-
change cameras.
KLEIN & GOODMAN
18 S. 10th St.
Phila.:
A
IE
T
T
I
T
L
E
S
■ biul inj.t ii ii printed and hand lettered.
1MSUUI.UTC Original backgrounds 25c upward.
Free samples. Production of 16mm. industrial, dental and
travel Alms. Correspondence imited.
VACATION DAYS
W. Stuart Bussey
814 N. Meridian St.
Lincoln 1207
Indianapolis. I nd.
408
SEPTEMBER 1932
(Continued from page 406)
MICHIGAN
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co.. Dept. 290.
E. B. Meyrowitz, Inc.. 1516 Washington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Camera Shop, Inc., 16 Monroe
Ave.
Photo Service Shop, 44 Monroe Ave.
Jackson: Royal Film Service, 125 Michigan
Ave., W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc.. 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg.. 91 E. Sixth St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Hanley's Photo & Radio Shop, 116 E. 10th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
MONTANA
Billings: Midland Drug Co., 23 N. 27th St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1*217 O
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morkistown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co.. 103 Halsey St.
Paterson: Walker Radio & Elec. Co.. 318 E.
33rd St.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
West New York: Rembrandt Studio, 526 "d"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadway.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 305 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 145 E. 60th St., nr. Lexington
Ave.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
Abe Cohen's Camera Exchange, 120 Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen. 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop, Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & Lembke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Joseph P. Hackel, Rm. 1919, Chanin Bldg.,
122 E. 42nd St.
Hecker's Camera Store, 1519 Amsterdam Ave.
Herbert & Huesgen Co., 18 E. 42nd St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand. Times Bldg.
Lugene, Inc., Optician. Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
Luma Camera Service, Inc., 302 W. 34th St.
Meclo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz, Inc.. 520 Fifth Ave.
MOGULL BROS. ELECTRIC CORP., 1944
Boston Rd.
New York Camera Exchange, 109 Fulton St.
Newman's Camera Shop, 1197 Sixth Ave.
Parker and Battersby, 146 W. 42nd St.
Pickup & Brown, Inc., 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
Schoenig & Co., Inc., 8 East 42nd St.
Frank Tanham & Co., Inc., 9 Church St.
WILLOUGHBYS, 110 W. 32nd St.
Northport: R. E. Sears, 487 East Main St.
Pelham: Kolb & Crawford, 129 Wolf's Lane.
Poughkeepsik: Marshall's Gift Shop, 341 Main
Rochester: Marks & Fuller Co., 36 East Ave.
St.
Sibley, Lindsay & Curr Co., Kodak Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, 223-225 Columbia St.
Yonkers: Joseph F. Blatzheim, 4-6 Riverdale
Ave.
NORTH CAROLINA
Chart otte: The Rendezvous, 317 S. Church
St.
W. I. Van Ness & Co., 213 N. Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard St.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416 '/• Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Dept. 90, Public Square.
Home Movies Co., 1501-7 Superior Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply, 62 E. Gay St.
Don McAlister Camera Co., 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Shea & Williams. 2028 E. Third St.
Findlay: Day Radio Shop, 111 E. Sandusky St.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: V. E. Fowler, 824 Gallia St.
Steuiienville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Youngstown : Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Cottage Grove: Nelson Electric Shop.
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept., Fifth,
Washington & Alder Sts.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young S: Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1026 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: Johnstown News Co., 115 Market
St.
Lebanon: Harpel's, 757-9 Cumberland St.
Philadelphia: G. P. Dan ow Co., Inc., 5623-5
Germantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio, 2Uth and Chestnut Sts.
KLEIN & GOODMAN, 18 S. 10th St.
MacCallum Stores, 1600 Sansom St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton : Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware Co., Sporting Goods
Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Pawtucket: Thomas -N. Simpson, Broadway and
Exchange St.
Providence: E. P.' Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Westcott, Slade & Balcom Co., 95-99 Empire
St.
TENNESSEE
Chattanooga: Englerth Photo Supply Co., 722
Cherry St.
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co., 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Shop, Inc., 113 W. 6th
St.
Chas. G. Lord Optical Co., 704 Main St.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks, 119 W. Holly St.
Pasco: New Pasco Drug Co.
Pullman: R. R. Hutchison, Hutchison Bldg.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores. Inc., 141 5-4th Ave.
Lowman & Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. C,
707-11 Sprague Ave.
MOVIE MAKERS
409
Joyoer Drug Co., Howard & Riverside Ave.
Tacoma: Eastman Kodak Stores, Inc., 910
Broadway.
Walla Walla: Book Nook Drug & Stationery
Store.
WEST VIRGINIA
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 N. Milwau-
kee St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosh: Coe Drug Co., 128 Main St.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 123 Escolta.
OTHER COUNTRIES
AFRICA
Cape l'rovince
Capb Town: Kodak (South Africa) Ltd., "Ko-
dak House," Shortmarket and Loop Sts.
Lennon, Ltd., Aclderley St,
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Wales
Sydney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Harringtons, Ltd., 386 George St.
Kinelab Film Service, Adams' Bldg., 484
George St., opp. Queen Victoria Market.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harrington's, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
West Australia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Film & Slide Co. of Canada, Ltd., 205 Paris
Bldg., Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St., W.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave. at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St.,
W.
886 St. Catherine St., W.
Gladwish & Mitchell, 7 Cypress St.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393
Nanking Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cyneca-
meras, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Cohn, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, S6 Accrington Rd.
Brighton: Stead & Co., Ltd., 18-19 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate St.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd.,
119 Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Kodak, Ltd., Kingsway.
Sands, Hunter & Co., Ltd., 37 Bedford St.,
Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 Bond St.,
47 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., Dept. 109, 400 Ox-
ford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak, Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str. 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi, 13-17 van Berchenstraat.
Broerstraat 48.
Rotterdam: Bollemeijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz U-4.
INDIA
Ahmedabad: R. Tolat & Co., Bawa's St.,
Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road. Ballard Estate.
Calcutta: Army & Navy Cooperative Society,
Ltd., 41 Chowringhee St.
Photographic Stores & Agency Co., 154
Dhuramtolla St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Shueisha, 25 Kitahama 4 Chome,
Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini, S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd., 170-172 Queen St.
Christchurch : Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
294 Lambton Quay.
Te Aro Book Depot, 64 Courtney PI., Gas
Company's Bldg.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A, S, Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine, 103J4 St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St,
J. Lizars, 101 Buchanan St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol 4.
Avenida Conde de Penalver 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc I'enang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 39 High St.
SUMATRA
Medan: Y. Ebata & Co.. 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet. Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Freiestrasse 74 (So-
deck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Hans zur Sommerau-
Stadelhoferplatz.
Zulauf and Co.. Bahnofstr. 61.
Winterthur: Alb. Hoster, Marktgasse 57.
VENEZUELA
Maracaibo: MacGregor & Co., Apartado Postal
No. 197.
$3 a year (Canada, $4.00,
Foreign, $3.50); 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
FIGHTING EAGLE
with
Rod La Rocque
Phyllis Haver
Sam De Grasse
A story full of spice and romance is built around the
court intrigues of Napoleon's tempestuous reign as
Emperor of France. A reckless soldier who boasts of an
imaginary intimacy with his monarch, finally deserves
and earns it — as well as the lovely lady who has shared
his adventures.
IMPORTANT ANNOUNCEMENT
Catalogue of
KODASCOPE 8 LIBRARY
Is ready for owners of the new 8 mm. equipment — at greater economy of rentals.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
SOLDIER MAN
Harry Langdon lingers behind the army after the Armis-
tice is declared and, because of a strong likeness to a
dissolute monarch of one of the smaller kingdoms, he is
substituted for the latter by a revolutionary faction which
seeks to gain control of the monarchy. As a counter-
feit king, Harry is a scream, and his adventures with the
Queen are full of surprises. Three reels of continuous
hilaritv.
NEVER WEAKEN
In this picture, Harold Lloyd is at his breath-taking best.
In order to stimulate business in his sweetheart's office, he
produces cripples to be treated by her employer. Suspecting
a rival in her affections, he attempts suicide, but quickly
changes his mind when he finds real hazards through his
frantic efforts to escape imminent death in the tottering
framework of a steel skeleton office building. Suspense and
laughter throughout.
C I
a s s i r i e
f
d v e r t i s i
H-g
| All classified advertising copy will be care-
fully scrutinized but Movie Makers cannot be
held responsible for errors or statements made
by classified advertisers. Box numbers are -pro-
vided for advertisers who wish to use them.
Mail received for these box numbers is for-
warded by Movie Makers unopened to the adver-
tisers concerned. Remittances, if any, to cover
goods offered for sale in this department should
be 7nade to the advertiser and not to Movie
Makers. The closing date for the receipt of
copy is the tenth of the month preceding date of
issue. Cash with order is required.
10 Cents a Word Minimum Charge, $2.
EQUIPMENT FOR SALE
■ BASS BARGAIN COUNTER: 100 ft. DeVry
model B 16mm. camera with //3.5 lens auto-
matic spring drive, $12. 75; used Drem exposure
meter, $2.95; Cine-Kodak model B //6.5 lens,
$22.50; new DeVry model G projector, motor
driven, $29.95; almost new Kodascope model K,
$160.00 list, at $114.50; Bell & Howell en-
larger, fit any 57 model, list $28.00, at $9.75;
Peko Maestro 16mm. sound projector complete in
turntable, 33 and 78 revolutions, with amplifier
and speaker, special at $95.00; Victor model 3
camera with 1" //1.5 Wollensak lens at $82.50;
almost new Cine-Kodak model B f/3.5 lens at
$39.95. Hundreds of other bargains in the Bass
Bargaingram #209 sent on request. Money back
guarantee on every item. BASS CAMERA COM-
PANY, 179 W. Madison St., Chicago, 111.
■ SIMPLEX FADING GLASS will produce
fade in or fade out in your own movies. With
instructions and carrying case, $2.00. ERNEST
M. REYNOLDS, 165 E. 191st St., Cleveland,
Ohio.
■ SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ ONE DOLLAR ONLY— New Hayden exten-
sion arms for your Kodatoy for 400 ft. reels.
Sent direct only. A. C. HAYDEN CO., Brock-
ton, Mass.
■ FOR SALE, Victor model 5, //2.9 lens, good
condition, cost $220. Sell for $125. DR. A. R.
BELLERUE, Waupaca, Wise.
■ KODATOY, new— regularly $12.00— $6.00;
Cine-Kodak BB //1.9, $50.00; Hugo Meyer 2"
lens, f/1.5. Bell & Howell mount 70D, $45.00;
Hugo Meyer 1" lens, f/1.5, Bell and Howell
mount 70D. in Kodacolor, $40.00. COLUMBUS
PHOTO SUPPLY, 146 Columbus Ave., New
York.
■ 1 CINE-KODAK K 1.9 (new) with Koda-
color, $110.00; 1 Cine-Kodak M 3.5 (new),
$40.00. G. ADAMS, 1332 Logan Ave., N.W.,
Canton, Ohio.
■ $135. TAKES VICTOR 7R projector, chro-
mium and black finish, and with #11 lamp rheo-
stat. Cost $230. Carries manufacturer's certifi-
cate perfect mechanical condition throughout.
E. IMHOFF, 456 N. Booth, Dubuque, Iowa.
■ B & H 70A $150.00 16mm. camera and 57G,
2oO watt var. projector which retails for $246.00,
both used only few times. Will sacrifice both for
first $150 offered or separately, $80.00 each. Send
25% deposit. Will ship balance C.O.D. subject
to inspection on delivery. Ask for special bargain
lists. NATIONAL ALL-MOVIE SALES CO.,
333 No. Michigan Ave., Chicago, 111.
■ NEW HUMIDOR CANS, 45c, 400 ft. reels,
50c. 16mm. films 35c up. Free Bargain lists.
HOME MOVIE SERVICE, Box 32, Easton, Pa.
| LOWEST prices on all 16mm. film. Projec-
tors, cameras, screens, lenses, accessories 15 to
25% off. Send for price lists. C1NECRAFT CO.,
80 Boylston St., Boston, Mass.
■ TAKE MOVIES indoors. Reflector, tripod,
tilting head, complete outfit, $3.97. Tripod fits
all cameras. Fall bargain scoop now ready.
WOLK CAMERA COMPANY, 219 S. Dearborn
St., Chicago, 111.
■ LENS SPECIALS, for 16mm. cameras: U"
f/2.9 Meyer Trioplan, $20.00; 15mm. f/l.S
Meyer Plasmat, $35.00; 1" f/1.9 Dallmeyer,
$17.50; 1" f/2.9 Meyer Trioplan, $17.00; 1"//1.S
Wollensak, $30.00; 2" //1.8 Wollensak, $40.00;
2" f/3 Meyer Trioplan, $30.00; 2" f/3.3 Wollen-
sak telephoto, $17.50; 354" f/3.3 Wollensak
telephoto, $40.00; 3%" //4.5 Goerz Celor,
$25.00; 4M" f/6.3 Carl Zeiss Tele Tessar,
$35.00; 6" //4.5 Dallmeyer telephoto, $42.50;
6" //4.5 Wollensak telephoto, $45.00. WIL-
LOUGHBYS, 110 West 32nd St., N.Y.C.
Printed by WNU, New York
I
Special Bargain
IN
Back Copies
OF
Movie Makers
Because of limited storage facili-
ties at League headquarters, a
number of back copies of this mag-
azine will be sold at the special
price of
15 CENTS A COPY
during the months of September
and October of this year ONLY.
THESE NUMBERS ARE
AVAILABLE
1928
May, June, July, Novem-
ber, December.
1929
January, March, April,
May, June, July, August,
September, October, No-
vember, December.
1930
February, April, May,
June, July, August, Sep-
tember, October, No-
vember, December.
1931
April, May, June, July,
August, December.
This offer will end October 31.
Because of the special Canadian
tariff, the price to residents of the
Dominion of Canada will be Twenty
Cents. Everywhere else the price is
FIFTEEN CENTS
Send list of the numbers you want
together with your check to
MOVIE MAKERS
105 West Fortieth Street
New York, N. Y., U. S. A.
| LENSES, camera, films — speed, telephoto,
regular lenses. Cine-Kodak A, //3.5 with tripod.
16mm. Cinegrraphs and Burton Holmes travel-
ogues. All new material CHEAP. HARRY LUC-
ZAK, 1826 Kenilworth Ave., Berwyn, 111.
EQUIPMENT WANTED
■ WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
■ F1LMO 70-A camera wanted. Must be in per-
fect condition and the price right. Write full
particulars BOX 144, Movie Makers.
FILMS FOR RENTAL OR SALE
■ PIXY PICTURES (25 ft.) 16mm. short sub-
jects complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. Also many 100 ft. travel-scenics at
$4.50. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
| Big Trees of Yosemite, 200 ft., 16mm., price
$12.00; 100 ft., $6.00. On the Waves at IVai-
kiki, 150 ft., price $9.75. Tame Wild Life of
Yosemite, 375 ft., $22.50. GUY D. HASELTON,
7901 Santa Monica Blvd., Hollywood.
■ 35MM. NEGATIVE fresh Eastman and Du-
pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75 each.
Sept rolls, 1 dozen, $4.00. Also lengths from 50
ft. to 400 ft., at prices ranging from 2 to 2%c
per foot. WARRANTED FILMS, INC., 729
Seventh Ave., N. Y. C.
■ JUST OUT! New list of both 16mm. and
8mm. lllini home movie rental library subjects
for members or non members within a 1000 mile
radius. ILLINOIS CAMERA SHOP, Galesburg,
111.
■ 16MM. FILM RENTAL LIBRARY. Service
available anywhere in United States. Maximum
weekly rental, $1.00 per 400 ft. reel. Hundreds
of brand new 100 ft., 16mm. subjects (first qual-
ity— no pirated prints) for sale at $3.50 and
$3.95. Many slightly used 100 ft., 16mm. sub-
jects, $2.25 and $3.25. Longer films at propor-
tionately low prices. Write today for big de-
scriptive catalogue. EASTIN FEATURE
FILMS, Galesburg, 111.
■ "THE WORLD'S GREATEST PASSION
PLAY," depicting the entire story of the life of
CHRIST. This crowning achievement is more
elaborate than the OBERAMMERGAU stage
play, complete story in 5 reels. (New) 16mm.
safety film. Religious! Soul-Stirring! Heart-
Reaching! Rent or purchase. We have many
others. Write HEMENWAY FILM CO., 37
Church St., Boston, Mass.
| COMPLETE laboratory service. Developing,
printing, duplicate prints. Fire Eagles, directing
fire fighters by radio from autogiro. Fifty feet,
16mm., $2.00. G. H. HORST, 311 E. Cliveden,
Philadelphia.
FILMS FOR EXCHANGE
■ EXCHANGE EXCLUSIVELY— Our library
was the first to reduce the price of EXCHANGE
to $1.00 for 400 ft. films and maintain its
STRICTLY HIGH CLASS SERVICE. Exchange
prices: 400 foot reel, $1.00; 200 foot reel, 50c;
100 foot reel, 25c. RETURN POSTAGE RE-
QUIRED. We positively will not accept pictures
with broken perforations and scratched emulsion
and that AUTOMATICALLY' PROVIDES A
GUARANTEE THAT YOU WILL GET
QUALITY FILMS FROM US and QUALITY
HAS NO SUBSTITUTE. CINE CLASSIC LI-
BRARY, 1041 Jefferson Ave., Brooklyn, N. Y.
TRADING OFFERS
■ SHOTGUNS, target pistols, rifles and other
good firearms accepted in trade on motion pic-
ture and photographic equipment. Authorized
Eastman, Bell & Howell, Victor, Rhamstine,
Simplex, Pathex, DeVry, Leitz and Stewart-
Warner dealers. NATIONAL CAMERA EX-
CHANGE, 5 So. Fifth St., Minneapolis, Minn.
■ DON'T MISS THIS OFFER. $50.00 allow-
ance for your old projector regardless of make,
model or condition, on the latest model "K"
Eastman Kodascope. NATIONAL CAMERA
EXCHANGE, 5 S. 5th St., Minneapolis, Minn.
PERSONAL OPPORTUNITIES
■ GOOD BUSINESS awaits you in your county
via the movie route. Ask how. HOWARD E.
THOMPSON, 35 Newkirk Ave., Trenton, N. J.
New Precision
CONTINENTAL
KODAKS
adaptable to
film packs,
cut film
Kodak Recomar 18 (2j"x 3i"), with three
single plate holders with film sheaths, one
film pack adapter, cable release and expo-
sure table, costs S40. Kodak Recomar 33
<3i" x 4J "), similarly equipped, $48. Sup-
plementary lenses, each, $3.50. Eastman
pays the tax on all Eastman cameras.
an
d plates
Kodak Recomars18^33
FROM Kodak's German factory
come these versatile "still" cam-
eras. Both are characterized by un-
surpassed precision construction,
sturdiness and fine finish.
Each carries a fast f.4. 5 anastig-
mat lens and Compur shutter... a
combination which assures you of
exceptionally sharp contact prints
and beautiful enlargements with
which to supplement your movie
making. In addition you can, at
very nominal cost, have auxiliary
long-focus and wide-angle lenses
to increase the range and variety
of your pictures.
The Kodak Recomars take plates,
film packs, or cut film, hence per-
mit the use of panchromatic and
other extremely sensitive negative
materials.
For other features of these re-
markable new Kodaks, read the
panel below. Kodak Recomar 18
costs but $40; "33" costs $48...
at your Kodak dealer's. You pay
no tax; Eastman pays it.
DETAILS OF THE KODAK RECOMARS
LENS: Anastigmat/".4.5. SHUTTER: Compur, with 8 speeds from 1 to Y250
second on the "18," to Y200 second on the "33," besides bulb and time; built-
in self-timer; lens openings from y.4.5 to/132; cable and finger release.
FINDERS: Wire-frame, direct- view; also brilliant reflecting type, with spirit
level attached. GROUND-GLASS FOCUSING BACK: Easily taken apart if re-
placement of ground glass is necessary. BELLOWS: Double-extension; made
of high-grade leather. BODY : Light, strong metal, covered with pin-grain
morocco leather. PICTURE SIZES and NEGATIVE MATERIALS : Recomar
18 — 21/4 x 3% in. film packs, 61/2 x 9 cm. plates, or 2V2 x 3^ in. cut film;
Recomar 33 — 3%x 4% in. or 9 x 12 cm. film packs, 9x12 cm. plates or cut film.
Eastman Kodak Company
ROCHESTER
NEW YORK
MOVIE
Magazine of the /Imateur Cinema League, Inc.
-&
^.
/OpiCAV
c\N
OCTOBER, 1932
C I
a s s i r i e
f
v e r t i s i n
&
H 10c a word; minimum cost $2.00. Cash re-
quired with order. Published by Movie Makers
without responsibility for statements. Make re-
mittances to advertisers, not to Movie Makers
EQUIPMENT FOR SALE
■ BASS BARGAIN COUNTER: 100 ft. DeVry
model B 16mm. camera with //3.5 lens auto-
matic spring drive, §12.75; used Drem exposure
meter. S2.95; Cine-Kodak model B f/6.5 lens,
S22.50; new DeVry model G projector, motor
driven, $29.95; almost new Kodascope model K.
$160.00 list, at 8114.50; Bell & Howell en-
larger, fit any 57 model, list 828.00, at 89.75;
Peko Maestro 16mm. sound projector complete in
turntable, S3 and 78 revolutions, with amplifier
and speaker, special at 895.00; Victor model 3
camera with 1" //1.5 Wollensak lens at 882.50;
almost new Cine-Kodak model B f/3.5 lens at
S39.95. Hundreds of other bargains in the Bass
Bargaingram #209 sent on request. Money back
guarantee on every item. BASS CAMERA COM-
PANY, 179 W. Madison St., Chicago, 111.
■ SIMPLEX FADING GLASS will produce
fade in or fade out in your own movies. With
instructions and carrying case, 82.00. ERNEST
M. REYNOLDS, 165 E. 191st St., Cleveland,
Ohio.
■ ZEISS ICA stereoscopic camera, 3 dimension,
6x13 cm., //4.5, cost, $135. Sell $75. HECK-
ERS CAMERA STORE, 1519 Amsterdam, cor.
135th St., N. Y. C.
■ BELL & HOWELL projector, Model 57. 375
watt, equipped with Filmophone motor, com-
plete with Bell & Howell Projectophone in two
cases with five 400 ft. sound reels with discs
all in first class condition; used very little,
cost more than 8700. All for $295 or will ex-
change for a new Filmo JL Model projector.
Filmo 57X continuous projector attachment, cost
8100.00; used very little, $50.00. New im-
proved model, Rhamstine Electrophot, cost
830.00; almost new for 820.00. Graflex postcard
size //4.5. Autographic type back in good con-
dition, 860.00. 35mm. Acme portable projector
almost new, $95.00. FRED BRYANT, Lex-
ington, Ky.
■ FOR SALE: Eastman Model M Cine-Kodak
and Model C Kodascope, used one month. All
for 860.00, both with carrying cases. F. P.
SMITH, P. O. Box 549, Washington C. H.,
Ohio.
■ CLOSING OUT BARGAINS on 16mm.,
35mm. and still equipment and accessories.
Send for BARGAIN LIST. JOHN P. CON-
BERE, 1227 W. Walnut St., Shamokin, Pa.
■ LIBERAL ALLOWANCES for your old
model camera, Kodatoy, or obsolete movie,
equipment, toward the new Cine-Kodak Eight
cam»ra or projector. NATIONAL CAMERA
EXCHANGE, 5 South 5th St., Minneapolis,
Minn.
■ NEW TOY 16mm. projector, 100 foot capac-
ity, hand driven. Good for editing. Complete,
$3.95. ERNEST M. REYNOLDS. 165 E. 191st
St., Cleveland, Ohio.
H MODEL 5 Victor cine camera, Meyer lenses:
Trioplan, Tele-Megor Telephoto, Kino Plasmat
Kodacolor. Cost $400. Sell, 8200. Bell &
Howell projector, Model 57, cost $250; sell
8125. Thalhammer tripod, cost $35.00; sell $15.
Dremophot exposure meter, $6. Ramstein opto-
chrome filter, $3.50. D. J. MALLETTE, Meuer
8: Auerbach, 99 Mamaroneck Ave., White Plains,
N. Y. Phone W. P. 5863.
B ZENITH BARGAINS: Bell & Howell model
HG, like new, $125.00; Kodascope model "A,"
$75.00; DeVry "B," $15.00. All with cases.
Films wanted. ZENITH FILM & SUPPLY,
630 Ninth Ave., New York.
■ SPOOK and dissolve effects possible on Cine-
Kodaks M, B, BB and K if you have my $10.00
rewind key. WILLIAM J. GRACE, ACL,
Kirby Building, Dallas, Texas.
■ LOWEST prices on all 16mm. equipment;
prices average 15 to 25 per cent off list. Titlers
for Simplex or Eastman cameras, 85.75. Send
for price lists. THE CINECRAFT CO., 80
Boylston St., Boston, Mass.
B VICTOR 7R projector (Deluxe model) with
#11 lamp rheostat, SH5. Cost $230. Carries
manufacturer's certificate perfect condition. Op-
tional 800' reel arms and reels at slight extra
cost. E. IMHOFF, 456 N. Booth, Dubuque,
Iowa.
B BEFORE PURCHASING, like new B. &
H. cameras and projectors. Send for our bar-
gain lists first. National all-movie
SALES CO., 333 N. Michigan Ave., Chicago.
Special Bargain
IN
Back Copies
OF
Movie Makers
Because of limited storage facili-
ties at League headquarters, a
number of back copies of this mag-
azine will be sold at the special
price of
15 CENTS A COPY
during the months of September
and October of this year ONLY.
THESE NUMBERS ARE
AVAILABLE
1928
May, June, July, Novem-
ber, December.
1929
January, March, April,
May, June, July, August,
September, October, No-
vember, December.
1930,
February, April, May,
June, July, August, Sep-
tember, October, No-
vember, December.
1931
April, May, June, July,
August, December.
This offer will end October 31.
Because of the special Canadian
tariff, the price to residents of the
Dominion of Canada will be Twenty
Cents. Everywhere else the price is
FIFTEEN CENTS
Send list of the numbers you want
together with your check to
MOVIE MAKERS
105 West Fortieth Street
New York, N. Y., U. S. A.
B BARGAINS: TABULAR CINE EXPOSURE
METERS, 15c while they last, for / 3.5 cam-
eras. Tripod, reflector and tilting head, marvel-
ous buv. $3.97, complete. Loaded and now wait-
ing. Send for our BARGAIN SCOOP. WOLK
CAMERA CO., 219 S. Dearborn St., Chicago,
111.
B SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swam-scott, Mass.
B ENSIGN Auto-Kinecam camera. complete
$99.00 model, $60.00; Keystone 16mm. auto-
matic camera, $22.00; Hollywood model camera
/'3.5 lens, $17.50; Ansco Risdon 16mm. camera,
$14.00; Kodascope C projector, former model,
$20.00; Motioscope motor driven projector,
$14.50; Filmo projector, late model, 250 watt
bulb. $98.50; Filmo projector, 57GG, 375 watt,
variable resistance and ammeter, $135.00; Filmo
projector, late model, 375 watt bulb, $107.50;
Rhamstine Electrophot in case, $19.50; Filmo
Photometer in case, $11.50; W title board with
200 asst. letters, $5.00; DeVry footage counter,
$30.00 model, new, $18.00. WILLOUGHBYS,
110 W. 32nd St., New York City.
EQUIPMENT WANTED
| WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
V/AY, Swampscott, Mass.
FILMS WANTED
B WANTED, good used 16mm. films, 103, 200,
400 ft. lengths. Give titles, producer, price
wanted. J. W. WEST, Box 841, Portland,
Maine.
B WE BUY selected shots from 16mm. films
you have made. Any lengths. Cash waiting.
Do not send films. Descriptions wanted imme-
diately. BLOOMFIELD FILMS, 1637 Lexing-
ton Ave., New York, N. Y.
FILMS FOR RENTAL OR SALE
B JLrST OUT! New list of both 16mm. and
8mm. Illini home movie rental library subjects
for members or non members within a 1000 mile
radius. ILLINOIS CAMERA SHOP, Galesburg,
111.
B 35MM. NEGATIVE fresh Eastman and Du-
pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75 each.
Sept. rolls, 1 dozen, $4.00. Also lengths from
50 ft. to 400 ft., at prices ranging from 2 to
2%c per foot. WARRANTED FILMS, INC.,
729 Seventh Ave., N. Y. C.
B Big Trees of Yosemite, 200 ft., 16mm., price
$12.00; 100 ft., $6.00. On the Waves at Wai-
kiki, 150 ft., price $9.75. Tame Wild Life of
Yosemite, 375 ft., $22.50. GUY D. HASELTON,
7901 Santa Monica Blvd., Hollywood.
B PIXY PICTURES (25 ft.) 16mm. short sub-
jects complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. Also many 100 ft. travel-scenics at
$4.50. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
FILMS FOR EXCHANGE
B EXCHANGE EXCLUSIVELY— Our library
was the first to reduce the price of EXCHANGE
to $1.00 for 400 ft. films and maintain its
STRICTLY HIGH CLASS SERVICE. Exchange
prices: 400 foot reel, $1.00; 200 foot reel, 50c;
100 foot reel, 25c. RETURN POSTAGE RE-
QUIRED. We positively will not accept pictures
with broken perforations and scratched emulsion
and that AUTOMATICALLY PROVIDES A
GUARANTEE THAT YOU WILL GET
QUALITY FILMS FROM US and QUALITY
HAS NO SUBSTITUTE. CINE CLASSIC LI-
BRARY, 1041 Jefferson Ave., Brooklyn, N. Y.
TRADING OFFERS
B SHOTGUNS, target pistols, rifLs and other
good firearms accepted in trade on motion pic-
ture and photographic equipment. Authorized
Eastman, Bell & Howell, Victor, Rhamstine,
Simplex, Pathex, DeVrv. Leitz and Stewart-
Warner dealers. NATIONAL CAMERA EX-
CHANGE, 5 So. Fifth St., Minneapolis, Minn.
MISCELLANEOUS
B COMPLETE PRINTING OUTFITS for
movie titles, presses, type, ink, paper, supplies.
Write for catalog. KELSEY CO., D-50 Meri-
den, Conn.
MOVIE MAKERS
415
TlaO-l
Cooke .64
Wide Angle Projection Lens
BIG, bright pictures for small rooms — that's the trick behind
this new Cooke .64-inch F4 projection lens. It has the widest
angle yet obtained in a 16 mm. projection lens, and a remarkable
speed for a lens of such short focal length. The image you'll get
in the living room — a 5'10"x4'5" picture at only ten feet — is nine
times the area of that from the standard 2-inch lens. And then
there is the job it will do with your projector located a few feet
behind a translucent screen, as in a window display or a conven-
tion booth. It will give a bright 14-inch picture at only two feet ;
a brilliant 28-inch picture at four feet. Wherever a long throw is
impractical, this new lens is the perfect solution. Made with
characteristic Cooke accuracy, the lens for Filmo rth A f\
57 and M Projectors is Jjp^U
Can be adapted for the new Filmo J and JL Projectors for $1.50
Y
>/
\/
N/
V
V
V
v/
>/
\/
N/
V
>/
V
V
\/
V
\/
\/
\/
\/
\/
\/
\/
\/
\/
\/
N/
N/
N/
\/
Ifhw-l
The B & II
Splicer Dry Scraper Unit
Simplifying and speeding up 16 mm. film splicing, this new B & H
Dry Scraper permits you to remove emulsion from the splicing
surface in a trice without use of water. The Dry Scraper unit
replaces the scraper guide bar of the B & H Splicer, Combina-
tion Rewinder and Splicer, or Film Editor, by the simple removal
and replacement of a single screw. The film is placed over the
pilot pins in the usual way. A stroke or two with the Dry Scraper,
and the emulsion is off of the proper area. The scraper blade has
four cutting surfaces. When one becomes dull after long use,
simply turn the blade to another position.
The B & H Dry Scraper, complete
$2.75
The New Cooke F 1 .3
Lens for Impossible
Light Conditions ...
The new Cooke 1-inch F 1.3
Filmo 70 Camera lens, used
with super-sensitive pan film,
will take movies under light
conditions a short while ago
considered utterly inadequate
for any kind of picture. This new lens, offering a good degree of
sharpness, has the fastest working speed yet satisfactorily
obtained for 16 mm. cameras. Price
$75
SI & II Film Editor ... The B & H Film Editor, with its
illuminating, magnifying Picture Viewer, rewind arms, and con-
veniently located diagonal splicer, combines in one simple mechan-
ism all you need to edit films quickly and without dT> a f\
fuss and bother. Complete ejP'rl/
Rewind and Splicer, without Picture Viewer $14.00
Splicer block alone 7.50
It A II Title 'Writer The B & H Character Title
Writer is a miniature stage set for elaborate titles of all kinds,
including animated work, as well as a most convenient, complete
unit for filming ordinary title cards. The Filmo 70 Camera is
mounted on a screw in proper shooting position, and with lens
focuser and compensating viewfinder prism. Powerful lights-
always in place. Put title in rack and press the button.
Complete, with title cards, ink, etc
.$36
Football Isn't Football Without a Telephoto
It's like wandering into
deep woods without a
compass to be at a
football game without
a telephoto lens. Action
takes place out of
Bring it up closer with a two-, three-, or
6" F 5.
range of a 1-inch lens.
four-inch Cooke Telephoto. For Filmo 70-D:
2-inch and 4-inch, $55; 3-inch, $57.50; 6-inch F 5.5 $60.00
BELL & HOWELL
FILMO
Bell & Howell Co., 1843 Larchmont Ave., Chicago, 111., New York, Hollywood, London (B & H Co., Ltd.) Est. 1907
416
OCTOBER 1932
II you are
looking for
value —
13" x 18".. $3.00
18" x 24".. $4.00
22" x 30".. $5.00
here is
$
a genuine Da-Lite Screen for on
These two inexpensive Da-Lite Screens
have the same super-brilliant glass
bead surface as the more costly Da-Lite
Portable Screens and the big profes-
sional Da-Lite Theatre Screens.
A
22"
x30"
$13.50
30"
x 40"
16.00
36"
x 48"
18.00
39"
x 52"
22.50
45"
x 60"
30.00
52"
x 72"
40.00
I
Rear View
Model F Folded
THE DA-LITE JUNIOR is a real screen
capable of the same fine projection results
that have made all Da-Lite glass bead screens
the first choice of all who know. It's well
built too, and the handiest little outfit you
ever saw. The Junior sets up in a jiffy —
stands perfectly straight — doesn't show a
wrinkle, and folds up small enough to tuck
away in most any drawer. And think! For
only $3 — $4 or $5, depending on the size you
want, the Da-Lite Junior will give you all
the brilliance ANY screen can give you —
plus the extra brilliance obtainable only
from the Da-Lite super glass bead surface.
The Da-Lite Model ??F"
another real VALUE
Here's another Da-Lite screen that combines Da-Lite
performance with the economy of the day. It's the Da-
Lite Model F, a semi-automatic screen ruggedly built
for the hardest kind of service. The
screen itself is mounted on a high tension
spring roller contained in a beautiful,
black crystal finished case. When erect-
ed, the surface is held vertical and taut
by a telescope rod that swings up from
the rear. Sturdy, rubber-shod feet hold
the Model F steadily wherever it is
placed. You can't possibly get better
value in a portable screen, than you get
in the Da-Lite Model F.
These two, and other Da-Lite super
screens may be seen at most good deal-
ers. If your dealer is not yet supplied,
we will gladly send fully illustrated
literature.
The DA-LITE SCREEN CO. INC.
2725 X. Crawford Ave., Chicago, 111.
Super
Screens
.«.-.-.
417
©C1B 167400 ft
OCT -1 /93?
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII October, 1932 Number 10 '
Publishers' Photo Service
Cover design Ludwig Bemelmans
Featured releases 418
Closeups 420
Play— 1932, editorial 423
October haze, photograph 424
The clinic Russell C. Holslag, ACL 425
Mount and camera . . . Cyril Presgrave, ACL 426
Emphasis with light Herbert E. Angell 427
Where we live James W . Moore, ACL 428
The mirror of burlesque ... Theodore Huff, ACL 429
A-hunting we will go Paul D. Hugon 430
The picture on the screen . . Herbert C. McKay 431
Practical films 432
Filming with the Founder Horace H. Smith, jr. 433
A Hallowe'en camera C.W. Gibbs and R. C. Peck, jr. 434
Amateur clubs James W . Moore, ACL 435
To fit every background Malcolm G. Jackson, ACL 436
Art title background, photograph 437
News of the industry 440
The nest egg, scenario Ian Vohr 442
"Why I film" contest 455
Around the world with Movie Makers . . 458, 460, 461
Free films 459
Editor
ARTHUR L. GALE
MOVIE MAKERS
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign $3.50); to members of the Amateur
Cinema League, Inc., $2.00 a year, postpaid (Canada $3.00) ; single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August 3, 1927, at the Post Office at
New York, N. Y., under Act of March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and Publication Office: 105 West 40th
Street, New York, N. Y. Telephone PEnnsylvania 6-6836. Advertising rates on application. Forms
close on 10th of preceding month.
RUSSELL C. HOLSLAG Advertising Manager
JAMES W. MOORE Assistant Editor
FREDERICK G. BEACH Technical Assistant
ALEXANDER de CANEDO Art Editor
418
OCTOBER 1932
FELIX %
is still packing them in
The depression (which is now officially
over) did not affect Felix's popularity at
all. His pictures at the low rental price
of 50c per 400' reel (75c over weekends) are
still furnishing entertainment to thousands
of home movie patrons.
His series which has just been released are
only part of 120 brand NEW SHORT SUB-
JECTS made available for rental at our low
rental prices. See the dealer nearest you for
details or write to us for a catalogue.
Portland Lowell Boston
J. F. Gould Donaldson's Eastman Kodak Stores
Worcester Hartford
J. C. Freeman Co. D. G. Stoughton Co.
L. B. Wheaton Co. Harvey & Lewis Co.
Providence
Starkweather & Williams
Waterbury
Curtis Art Company
Bridgeport
Harvey & Lewis Co.
Fritz & Hawley Co.
New York City
Abe Cohen's Exchange
Herbert & Huesgen Co.
Great Neck
Lovett Cinema Studio
Troy
A. M. Knowlson Co.
Springfield
Harvey & Lewis Co.
Bristol
Lee E. Paulmann
New Haven
Harvey & Lewis Co.
Fritz & Hawley Co.
Stamford
W. A. McClelland
New Rochelle
Artist's Photo Service
Albany
E. S. Baldwin
Schenectady Hempstead Syracuse
Lyon's Agnew's Francis Hendricks Co.
Binghamton Rochester
A. S. Bump Co. Sibley, Lindsay & Curr
Buffalo
J. F. Adams Co.
Buffalo Photo Material Co.
Newark Montclair Summit
Schaeffer's Madison's Eastman Book Shop
Morristown
Ajemian's
Philadelphia
McCallum Stores
Williams, Brown & Earle
Scranton
'Home Movies Library
Lancaster
Darmstaetter's
Plainfield
Mortimer's
Trenton
Dwyer Bros.
H. E. Thompson
Reading
A. G. Bowers
Altoona
*Cohen's
Pittsburgh
Jos. Home Co.
Wilmington
Butler's
Washington
Robbin's
Indianapolis
The H. Lieber Co.
Canton
Roth & Hug
Grand Rapids
The Camera Shop
Cleveland
The Halle Bros. Co.
Milwaukee
*Eastman Kodak Stores
Dayton
Dayton Camera Shop
Evanston — Oak Park
Hattstrom & Sanders
Toledo
Franklin Printing Co.
Chicago
Aimer Coe & Co.
Cincinnati
Huber Art Co.
Terre Haute
Snyder's Art Store
Columbus
Don McAlister
Springfield
The Camera Shop
Detroit
Eastman Kodak Stores
St. Louis Tucson Sioux City
Erker Bros. *University of Arizona Lynn's
Denver Omaha
Akin & Bagshaw J. G. Kretschmer
"Indicates features only.
16mm. Films Distributed by
HOME FILM LIBRARIES
INC.
500 Fifth Ave. New York City
Featured releases
| This defartment is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examined by Movie Makers.
| Bell & Howell Co., Chicago, 111. The Filmo
Library catalog: of -this company lists a great
variety of attractive subjects, including- sport,
travel and educational features.
| Eastin Feature Films, Galesburg, 111. Dis-
tribution rights of the Mickey Mouse and Silly
Symphony cartoons on 16mm. are announced by
this company from a central location facilitating
immediate delivery. The comedies will be avail-
able on 25, 50 and 100 foot reels.
■ Eastman Kodak Co., Rochester, N. Y. Cine-
graph releases for September and October are
Charlie Chase in Don't Get Too Rough, Innocent
Husbands, Tell 'Em Nothing and Train Your
Sfooks; Our Gang- in A Hunting Party, Every
Man For Himself and Affile Day; Stan Laurel
in Catch 'Em Young; Clyde Cook in A Friend In
Need; and Laurel and Hardy in Sailors Beware.
| Gerke. Frederic L., New York City. The
sole distributor of Pathegrams offers sound on
disc films which include many Pathe features,
Grantland Rice Sportlights and Aesop's Fables.
A new 68-reel silent library is also offered.
■ Gillette Camera Stores, Inc., New York
City. Offered on a new rental plan, an unusual
collection of sound on disc films in single and
multiple reel features are presented by this com-
pany, in addition to their silent library.
| Haselton, Guy D. An illustrated pamphlet
describing numerous 16mm. subjects of the Trav-
ellette series is ready for distribution by this
maker of Tame Wild Life Of Yosemite and On
The Waves At Waikiki.
H Hemenwav Film Company, Boston, Mass.
Claimed as one of the finest of all religious
films, The Passion Play, 2000 feet. 16mm., is
featured by this film distributor.
■ Hollywood Film Enterprises, Hollywood,
Calif. Among a large list of attractive films
this company features a series of air thrills by
Elmer Dyer, and a direct distribution of Mickey
Mouse and Silly Symphony cartoons.
| Home Film Libraries, New York City. Fea-
turing The Wreck Of The Hesferus, a Cecil B.
DeMille production based on the Longfellow
poem, this company announces this month its se-
ries of features for 1933 which will include The
Lady Of The Lake, a Fitzpatrick production;
High Voltage and His First Command, with
William Boyd; Horseshoes and Flying Luck, with
Monte Banks; C&ptain Of The Guard, with John
Boles and Laura LaPlante; Oh, Yeah, with
James Gleason; and others.
■ Kodascope Libraries, Inc., New York City.
Caftain Swagger, with Rod LaRocque and Sue
Carol; Don't Park There, with Will Rogers;
and Shore Shy, with Billy Dooley are released
this month in addition to 100 other new subjects
listed in the fifth edition catalog, no* available.
A listing of 8mm. library subjects and a clear-
ance sale of 16mm. films at reduced prices com-
plete the month's announcements of this company.
H Manhattan Film Rental Library, Brooklyn,
N. Y. A list of varied and interesting subjects
for rental and sale is ready for distribution.
There are both 100 ft. and 400 ft. films included
in this list.
| Willoughbys, New York City. Little Acci-
dent, Cohens A?id Kelly s In Africa, East Is
West and Seed are added to the extensive list-
ings of this dealer, with such popular players as
Douglas Fairbanks, Jr., Edward G. Robinson,
Anita Page, Lupe Velez, Zasu Pitts and others.
THE
1933 SERIES OF
Home Film Library Features
ARE RELEASED
TODAY
The Wreck of the Hesperus. A
Cecil B. DeMille super-production.
Longfellow's famous ballad forms
the background for a powerful
drama of the sea.
Here are the other titles:
HIS FIRST COMMAND with William Boyd
A story of the U. S. Cavalry.
NOISY NEIGHBORS with Eddie Quillan
Hilarious comedy.
BIG TIMBER with William Desmond
A forest fire story of the great North-
west.
FLYING LUCK with Monte Banks
A real air thriller comedy.
SPUDS with Larry Semon
An army farce.
BLACK CYCLONE with Rex, the Wild Horse
A grand story of Indian days.
HIGH VOLTAGE with William Boyd
Six people marooned by a snow storm
in the great Northwest.
COLLEGE LOVE with George Lewis
A great football story in true col-
legiate setting.
THE LADY OF THE LAKE
A Fitzpatrick production. Based on
Sir Walter Scott's famous poem.
HORSESHOES with Monte Banks
Trials and tribulations of a young
lawyer.
FLYING HOOFS with Jack Hoxie
One of the "ridingest, shootingest"
Westerns ever filmed.
OH, YEAH with James Gleason
Smashing railroad comedy.
MY FRIEND FROM INDIA
with Franklin Pangborn
A satire on Indian fakirs.
CAPTAIN OF THE GUARD
with John Boles and Laura La Plante
A super-production of the French
Revolution.
All of these pictures have been selected care-
fully by experienced librarians with special
consideration as to their appropriateness for
children as well as for adults. Not alone
homes, but schools and churches as well,
will find these pictures excellent. You may
make arrangements to have them come to
you regularly through our block-booking
plan. The rental prices are most reasonable.
See the dealer nearest you {the list of
dealers is in the offosite column) or
write us direct for further details.
HOME FILM LIBRARIES
INC.
500 Fifth Ave. New York City
MOVIE MAKERS
419
The Finest Allies ever offered those who want
4-Speed Camera, complete with f/3.5
lens and carrying case of sporty, new
design — De Luxe Holly- * _ _ nn
wood Model *5 5 UU
Semi-professional model with De Luxe
Lens equipment, consisting of Magni
View Finder and f/1.5 or d>^*» c/\
Telephoto lens, only .... *V ^■3U
New Stewart-Warner Projector
— has the most powerful light ever
offered in a 16mm. projector (500
watts.) Changeable speed — can
be stopped or reversed instantly
— an unmatched *^*%— ««
value $12500
to TAKE AND SHOW
MOVIES of PROFESSIONAL
THEATRE-LIKE BRILLIANCE
Stewart-W arner has devoted its vast resources and over a
quarter of a century of experience in building long-wear-
ing, gear-driven products — to producing the first high
quality movie equipment line to be sold at popular prices.
Those who want to take and
show fine movies — but do not
want to spend a fortune on
equipment — can now realize
their wishes. For Stewart- War-
ner offers every essential that
must be in movie equipment of
the highest grade at popular
prices.
The 16mm. camera, for instance,
designed by Hollywood Camera-
men— is so simple anyone can
operate it, yet takes such re-
markable, lifelike pictures that
it is used personally by the movie
stars. Has 4 speeds, including
s-l-o-w motion and talking pic-
ture speed; audible film counter
and interchangeable film mount.
With De Luxe lens equipment
this sensational camera is priced
about half that of any camera of
comparable quality.
And when it comes to Projec-
tors— nothing on the market can
touch the new Stewart- Warner
500 Watt Projector at anywhere
near its price. It threads in a
jiffy and projects pictures with a
lifelike realism that amazes those
who have been using ordinary
16mm. projectors. Run it back-
ward or forward at any speed.
No annoying flickers or shadows.
Stop or show one frame as long
as you wish — no danger of
scorching as an automatic fire
screen drops into place the mo-
ment the mechanism stops.
Go to your dealer's — see all the
new Stewart-Warner Equip-
ment, including the new type
folding, stand-up type screen —
compare prices and quality and
you'll know why thrift buyers
are turning to Stewart- Warner.
Illustrated descriptive folder for
the asking.
STEWART-WARNER
Movie Equipment
"BUILT FOR RELIABILITY AND PERFORMANCE"
New Stewart-Warner Screen
Fold-away, standing type — permanently at-
tached to case which acts as a base, holding
screen upright. Beaded glass » ^ -* f-f\
surface, $20.00. Aluminum sur- *"| ^.3U
face
Combination Offer
Projector — Hollywood De »^ — — >■»<»
Luxe Camera, and Screen, « J / *J -"w
complete
Movie Equipment Division MM-10
Stewart-Warner Corporation1
1826 Diversey Parkway, Chicago
Please send me illustrated description of Stewart-
Warner Movie Equipment, including details of the
new De Luxe lens-equipped Stewart-Warner Movie
Camera.
Name
Address
□ Dealers check here for complete Resale Plan.
OVER 30 MILLION SATISFIED OWNERS OF STEWART-WARNER PRODUCTS
420
OCTOBER 1932
AT LAST !
ITS HERE !
THE
B€LEX
PROJECTOR FOR
9.5 and 16mm.
Separately or in Combination
Two Projectors
For the Price of One
T
BOLEX FEATURES
■ Change from 9.5 to 16 a matter of
seconds only. No tools necessary.
H Illumination: Special, 250 watt lamp,
guaranteed 100 hours, giving a clear
picture up to 5x8 feet.
■ Rewind: High geared, by hand or by
motor.
■ Controls: Conveniently grouped on
side nearest the operator. Forward
and reverse speeds, fully controlled.
■ Threading: Made easy by following
simple guide. Straight line film travel.
Smooth, vibrationless performance.
■ Construction: Mechanism support of
aluminum, cast in one piece under
high pressure. Mechanism is totally
enclosed. Controls and fitting nickel
and chrome plated.
■ Ventilation: Highly efficient, by means,
of forced draught. Fans operate dur-
ing projection either of stills or
movies.
■ Stop on film: Full illumination provid-
ed indefinitely without damage to film
by means of motor declutching con-
trol.
■ Size: Compact and convenient. Reel
arms fold into small compass, measur-
ing 9]/2"x8"x5". Weight, complete,
only 9/2 lbs., approximately.
PRICES
9.5 or 16mm. Models— $99
Combination Model — $109
If you wish to qualify as exclusive Dis-
tributor in your city, your request must
be in our hands by October 15.
BOLEX CO.
Sole Distributors for U. S.
45 W. 45 ST. N. Y. C
Closeups— What amateurs are doing
■ Up in Pawtucket, R. I., Ernest K.
Pearson got himself in an awkward
movie predicament this past summer.
He decided one night to give a show out
on the lawn for the neighborhood kids
— and did, for more than a hundred of
them. The next week, word having gotten
around a bit, there were two hundred,
with a lot of grownups who tried to give
the impression that "of course, we only
came to bring the children over!" At
the third week's screening five hundred
showed up, overflowing the lawn to
the street, where they snarled up traffic
and stalled a lot of motor cars. But most
of the drivers found they could see the
movies from their cars, so they didn't
mind much and joined the party too.
Finally a cop arrived and straightened
out the traffic jam, but now Mr. Pearson
thinks twice before he asks the neigh-
bors in to see a movie.
■ On page 11 of the League booklet,
Making A Simple Film Story, there is
outlined the beginning of a plot. It was
put there purely for the purposes of
example and back in 1929, when the
book was first issued, no one, least of
all the author, knew the end of the story.
Since then things have changed. In-
quisitive League members wrote in say-
ing what a swell plot it was and how
did it end, because they wanted to film
it. Well, of course we couldn't admit
that we didn't really know, so we made
up an ending and sent it on, to the
apparent satisfaction of the member.
By the time the next request like this
came along, we'd plumb forgotten the
first denouement and had to invent an-
other one. This one we saved carefully
Scene from Stuart Bussey's
ending for the plot in
"Making a Simple Film Story"
and used for quite a time until, finally,
it too disappeared from our memory,
lost in a haze of letters on how to film a
trip to Europe. But now this whole aw-
ful business seems to be solved at last
for, out in Indianapolis, W. Stuart Bus-
sey, ACL, made up an ending on his
own hook and put it right down on film,
before he forgot it.
"Honeymoon Ahoy," as pictured
in Ralph Eno's wedding film
■ The use of pony carts, a couple of
wagons drawn by dogs and an assort-
ment of home made autos for fire trucks,
etc., will give you an idea of the "Fire-
man, Save My Child" melodrama being
produced in Aberdeen, Wash., by junior
high school youngsters under the lead-
ership of W. Harold Fearing, ACL.
Majestically, as the school building
roars in flames beside him, the chief de-
scends a ladder from his equipage to
inspect the regimented files of his men
before they may stir into action. Then,
daring rescues, a thrilling leap into a
tennis net and all is well, save for the
school principal, marooned on the top-
most floor. But no one bothers about
him and, as firemen and children pa-
rade away in honor to the gallant chief,
he parachutes to a battered safety be-
neath an old umbrella.
■ In Oakland, Calif., F. W. Delanoy,
Jr., is producing a film story in which
the camera will play the leading
role and throughout the course of which
the audience, much as in the opening
sequences of Dr. Jekyll And Mr. Hyde,
will see directly through the eyes of the
chief character. Mr. Delanoy has adapt-
ed his story from The Three Muses, a
simple scenario carried in a past issue
of Movie Makers.
■ The Cross of Chevalier of the Legion
of Honor has recently been presented to
Paul Montel, managing director of La
Revue Francaise de Photo et de Cinema,
a distinguished award which Movie
Makers is happy to announce.
MOVIE MAKERS
421
Simplex Pochette is the only camera that requires no
threading. Simply open the compartment door, insert
Simplex Pockette Magazine, close door and begin filming.
NOW-
KODACOLOR
WITH
'trademark
REGISTERED
The unique flexibility of Simplex Pockette per-
mits instant change to Kodacolor. Fascinating
and beautiful results are obtained of those sub-
jects that lend themselves to color.
With Simplex Pockette you do not load your
Camera with Kodacolor and then find that you
cannot use it for black and white until all this
film has been used.
Simplex Pockette Magazine makes it possible
to change instantaneously from Panchromatic
or Supersensitive film to Kodacolor. Use as much
or as little Kodacolor film as you desire — then
change. Use as much or as little Panchromatic
or Supersensitive film as you desire — then
change.
The obvious advantage of this interchangeability
makes Simplex Pockette the all-purpose Camera.
SIMPLEX POCKETTE IS LICENSED FOR
KODACOLOR BY THE EASTMAN KODAK
COMPANY UNDER KODACOLOR PATENTS
Full information regarding all models of
Simplex Pockette will be sent upon request.
INTERNATIONAL PROJECTOR CORPORATION
90 COLD STREET NEW YORK, N. Y.
THE ALL-PURPOSE CAMERA
422
OCTOBER 1932
The Model 5 VICTOR, illustrated above is priced at $180.00
with the Hugo Meyer F 2.9 one-inch Trioplan lens. (Pre-
viously priced at $220.00.) New Price includes Tax.
The New Victor 5 will appeal to you as being the most beautiful, the
most complete, the finest of all 16 m/m, cameras! The Model 5 is the
original visual focusing, turret front 16 m/m camera. Now it
has many more new features to lift it even farther beyond competition
.... a new graduated dist-a-sight; an audible-visible film meter;
ATTACHED WINDING CRANK; FILM LOOP GUARD; COLLAPS-O-STRAP HAN-
DLE; and rich, gold flecked brown lava finish with satin black and
chrome plate trim .... at a great reduction in price!
The exquisite beauty and amazing performance of the New 5 will thrill
you. Its new low price will delight you. Don't envy the other fellow . . .
Own a Victor yourself. Ask today to see these new Victor Values.
Lenses of "" makes, speeds and focal lengths are interchange-
able on Victors. May be equipped for KODACOLOR also.
The VICTOR Model 3 Camera
(one lens, 3 speeds) has won inter*
national fame through its fine perform-
ance and ingenious simplicity. Equip-
ped with 20 m/m Dallmeyer F 3.5
FIXED FOCUS lens, it is now priced
TAX PAID
J/l&NEW
VICTOPv
POCt^f T
TITL£F\_
IO
Now you can make your titles any-
where, anyplace, right in between
scenes. The Victor Pocket Titler (for
Victors and Filmos) folds up and
slips in the pocket. Order now and
"Title As You Go"!
MCISION
bUTwA LOT
^MOK€,TOO
IN a DEPENDABLE 16 m/m Movie Cam-
era mechanical precision is essential — abso'
lutely essential to insure continuous satisfac
tory performance! VICTOR has no peer for
mechanical precision.
But precision alone is not enough. You want
Proper Design and Correct Principles. You
want Completeness, Flexibility, Convenience
and ingenious Simplicity. You want VALUE.
You want ALL that VICTOR has built into
the New MODEL 3 and 5 CAMERAS to
insure superlative movie making results.
ASK YOUR DEALER TODAY to show you
why you want a VICTOR .... the only 16
m/m camera with a 3 -YEAR GUARAN-
TEE.
Victor Animatograph Corp.
DAVENPORT, IOWA, U. S. A.
Mwurtww
Play— 1932
THE AMATEUR CINEMA
LEAGUE, INC.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and now
spreading over many countries. The League's consult-
ing services advise amateurs on plan and execution of
their films, both as to photographic technique and con-
tinuity. It serves the amateur clubs of the world in
organization, conduct and program and maintains for
them a film exchange. It issues bulletins. It maintains
a plot service and title service. The League completely
owns and operates Movie Makers. The directors listed
below are a sufficient warrant of the high type of our
association. Your membership is invited.
DIRECTORS OF THE LEAGUE
President
HIRAM PERCY MAXIM Hartford, Conn.
Vice President
STEPHEN F. VOORHEES New York City
Treasurer
A. A. HEBERT Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
Managing Director
ROY W. WINTON New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, INC.
105 W. 40th STREET. NEW YORK CITY. U. S. A.
NO matter what one's political views may be and in spite of any reserva-
tions as to the ultimate good or evil that may come from it, it is impossible
not to see an improvement in business conditions in many parts of the
world, particularly in the United States. There is definite movement upward
from the depths of the depression, financial, social and spiritual, that has gripped
the world. Everywhere, those who have the responsibility for the communal
and national activities of various countries are stirring themselves to practical
measures with a greater degree of hope. The oratory of despair is giving way to
the effort of decision. Those subversive elements that work for chaos in every
world calamity are withdrawing into the darkness from which they emerged.
Responsible men are more firmly in the saddle.
Every reasonable citizen of the world hopes that the upswing will not carry
us to the excesses of three and four years ago and that we have all learned some-
thing from our recent experience. There is no automatic guaranty that this will
be true. No remaking of the social or political system can change human nature,
and folly is common to autocracy, democracy and communism. Individual self
restraint and an increase in the recognition of social obligations are the only safe-
guards against a repetition of what preceded the recent catastrophe.
Work is common to most of us and its value as a determinant of character
is largely disciplinary. Work teaches us either to be active and efficient or lazy
and ineffective. That which determines our social attitudes comes from our
recreations and our deliberately selected activities when we are not bread win-
ning. What the world will do with its next period of prosperity depends largely
upon the concepts of life that it has built up from its recreations. If those con-
cepts are of Babylonian luxury and extravagance, prosperity will be pushed past
the danger point to realize them. If we have learned saner pleasures, we shall
stop short of the wreckage zone.
The wide development of amateur movies that has been made possible by
the introduction of inexpensive equipment and film can serve the world impor-
tantly in this period of searching out new standards in every corner of life. Here
is an employment for free time that has none of the connotations of Babylon
and none of the vulgar expenditures for showy luxury that have obscured real
recreational values since the World War.
Amateur movies are not capable of competitive display except in the quality
of filming done. Gold mounted cameras and platinum powdered screens are
ideas that fall of their own absurdity. Wealth cannot make better movies than
modest competence and, by now, the earlier restriction of movie making to
monied amateurs has been removed. The field is now open to almost everybody
that has a job — and more people are going to have jobs. In themselves, amateur
movies are deeply satisfying because they offer just the right combination of
creative quality and manual dexterity with a mixture of technical skill that fits
the temper of a mechanically served world.
If a 1932 philosopher were privileged to remodel the universe with a benevo-
lent and altruistic intention, he could do no better than to establish movie mak-
ing as his world's way of using its free time.
j-3*-
«•
^
William jNi . Kinase
Orfnhpr \\7lTP October is a month of scudding clouds, of a certain
tingle in the atmosphere that calls for activity. Here
is the time when the amateur can secure films of the
active sports, of hunting, polo, football and the like. The smoky haze of
October rises in temperate climates making few distant shots advisable.
The haze indicates the use of filters even in scenes of middle distance.
Cloud shots are the best filter possibilities, and among these are silhouettes
with clouds as a background. In making such shots, carefully focus the
lens for the object which forms the silhouette outline. The clouds, them-
selves, are far beyond this and it is not important that they be sharply
defined in any case. October is also a month of opulent leaf colorings.
M O V I
425
MAKERS
The clinic
RUSSELL C HOLSLAC, ACI
Technical comment
and timely topics
for the amateur
"Dithering" ■ Here is a word which you will
find in no ordinary dictionary
but which was used by a cinematic friend of ours
to express a screen condition which many people
cannot explain. He had recently built an addi-
tion to his New England home and had quite
pridefully and properly made a film record of
the whole operation. And at the beginning of the
film there was a panorama of the lumber, piled vertically, which was more than a
shade too fast. "There!" said he, "do you see that picture dithering?" We considered
it a most expressive term and, for want of a better, we hasten to apply it right here to
that peculiar phenomenon which attends the panorama of a scene that contains promi-
nent, vertical objects. "Dithering!" How well it expressed that vibrating uneasiness
caused by the interference of moving, vertical objects with the shutter of the camera
operating sixteen times a second. Make even a slow panorama of a picket fence and
you will see "dithering" at its best. "Panoram" slowly on any scene, but, if the scene
contains prominent, vertical lines, don't make a panorama at all. Or, if you simply
must move the camera, move it very, very slowly. Don't let your screen picture "dither"!
Projector apertures ■ One nears a l°t these days about fast lenses, those with
wide apertures of //1.9, 1.3, 1.5 and so on. This seems to
be related entirely to the camera. But projectors have lenses, too, and these lenses have
apertures. The recent trend in projection lenses has been marked by the appearance
of wide apertures which do the same thing for the projector that they do for the
camera; they allow more light to pass through. Now, these wide aperture lenses of the
projector have the same optical characteristics as those of the camera; a wide aperture
in a lens gives less depth of focus than does a smaller aperture. "But," you will say,
"no depth, as such, is involved here. The image on the screen is flat and the film is held
flat in the projector gate." That is true, but do not forget that the lens must be moved
every time the image is focused. If it is a wide aperture projection lens, it must be
focused with greater finesse. Many projectionists have formed the conclusion that the
new, wide aperture lenses are not critical in focus. This is not the case. They must be
focused more carefully, and a careless touch of the lens while projecting will make
itself felt more apparently on the screen. These large aperture projection lenses are
made for the amateur that he may gain more light on the screen. They should be
used according to their attributes, carefully focused and then not touched. Everyone
knows that a fast lens in the camera must be focused carefully. The same thing applies
to a fast projector lens.
Positive fades ■ Making fades in direct positive titles has puzzled amateurs who
have found that the use of a fading glass or dissolve device
gave a transparent film instead of an opaque effect. Thinking the process through, we
find that, to produce a fade, we must overexpose sufficiently to make the film very
dense. In order to do this when making titles on positive film, it is necessary to have
plenty of light and a fairly fast lens. By experimenting, the amateur can soon find
what opening will give enough overexposure to make the film dark enough to obliterate
the wording. All that needs to be done, then, to make a fade in, is to open the lens
wide, start the camera and slowly close the opening to the normal exposure for the
title. At the end of the title gradually open the lens until it has reached the same point
from which you started. With the Photoflood lamps and an //1.9 lens this can easily
be done. A few test strips will soon tell you whether or not it can be worked with
your titler and lens. — Frederick G. Beach, ACL.
Random shots ■"You say this lens is one of the best on the market," said the
customer at the cine store, and determination not to let the sales-
man "put anything over" was apparent in his manner. "You say it is but, tell me the
truth, now, how far away can I take pictures with it?" And he pierced the clerk with
a shrewd gaze. A League member was standing by, waiting to inspect a new piece of
apparatus which he had seen in Movie Makers and was fed up with the customer's
persistence. "Ninety six million miles!" said he, as he headed for the door. "Point it
at the sun!" ■ Speaking of the sun and the shooting thereof, our readers may be
pleased to know that the interest on the part of amateur movie makers in last month's
eclipse (August 31) was truly overwhelming. This is written as the last day before
the celestial event draws to a close, but our technical service department has already-
had so many requests covering the subject that an [Continued on page 444]
426
Charles DuBois H
Pa r k riding offers
scenic background
without long trips
CYRIL PRESCRAVE, ACL
Horse filming has
rich opportunities
for movie makers
Mount and camera
IN THE FALL, nature offers the amateur
movie maker her most glorious scenic
effects. She is often considerate in the
question of temperature, too, and the crisp
air incites activity. Perhaps that is the
reason that some of our most strenuous
sports are fall events. A holiday in the fall
affords a splendid chance to make a scenic
picture, for one feels like doing something.
The term scenic, like many others which attempt to catalog amateur films in
classifications, is bound to be a very loose one. An amateur scenic is almost
always a scenic and something else in addition. It may be a hike, a hunt, an
automobile trip or a horseback ride that provides at the same time the occasion
and the motif of an amateur scenic film. Always, however, the natural beauty of
the background shares in importance with the activity.
Any combination of outdoor activity and woods, hills and meadows is likely
to offer an opportunity for satisfying screen results, and one of the best sports
for the combination is horseback riding. The grace of the animals and the fact
that it is pretty difficult for the rider to be camera conscious make riding not
only a good motif for a scenic but also a natural setting for portrait shots of
friends and members of the family.
The United States Signal Corps production, The Life Of Riley, portraying
a day's work of the cavalry, offers ample illustration of the fascinating conti-
nuity that may be worked out with riding as the subject and a beautiful coun-
tryside as a background. The camera angles of this film were well chosen to
bring out the beauty of both. Almost every large city has a park set aside for
riders — thus providing the cameraman with an opportunity to take scenes near
his home which, unfortunately, are too often neglected simply because they are
near. In carefully making a film of park riding, it is best first to go over the
ground the riders cover, confining attention to the most picturesque scenes, the
camera angle opportunities and noting the times when the lighting is best. In
arranging camera angles, remember that the horse is a large animal. Unless
you plan to take closeups of his head, keep well away from him and watch out
for viewpoints which would throw his body out of proportion on the screen.
The trick of the still photographer, closing one eye while looking at the scene
to be filmed, I find very useful in estimating movie scenes. Watching for faulty
composition while viewfinding is a bit more difficult due to the fact that the
scene is reduced. If a particular film has, for its purpose, the featuring of
scenery encountered on the ride, the most practical arrangement would be the
well known natural sequence of events type of continuity. We would show the
rider at the stable, the mount being prepared, the start, views and incidents of
the ride and the return to the stable as the natural conclusion. Views along the
bridle path would constitute the major part of the film and should contain the
rider and his mount so arranged that they form a definite, though subordinate,
part of the picture.
An outdoor show has more limited scenic possibilities but is a better action
subject. In filming a horse show do not "get everything" but concentrate on one
or two classes which will be most interesting when the particular show in ques-
tion is a thing of the past. The jumping, coaching, children's classes and high
school work are likely to be the most worthy subjects.
In filming the actual showing, remember to follow each shot to its natural
conclusion. If you are taking a jumper in action, do not allow the successful
entrant to leave your picture immediately after the jump is completed but fol-
low him with the camera a few seconds longer. This satisfies the curiosity of
your audience and lessens the interruption in the train of thought caused by the
necessary switch to the next scene. A good position for taking a jump sequence
is one in which the horse approaches the camera at a three quarter angle.
By concentrating on one or two classes, you will be able to film scenes show-
ing the preparation outside the show ring, such as the "putting to" of the
horses, the men mounting the coach and the coach being driven into the ring in
the case of coaching classes. This will provide an introduction to the film. A
telephoto shot of awarding the prize followed by a fade out on the exit will
complete the story.
Sequences of riding, and particularly of coaching, are considerably enlivened
by moving camera shots. These are difficult to obtain [Continued on page 445]
427
Emphasis with light
HERBERT E. ANCELL
By controlled use
of this essential
we reach film art
PERHAPS there is no factor in mak-
ing a photograph, either movie or
still, which has a greater effect upon
the quality and character of the finished
result than the manner in which the sub-
ject is lighted. Certainly this is true in
studio work where artificial light is entire-
ly under the control of the photographer.
In the open, where the great majority of amateur pictures are made, this ques-
tion of lighting calls for careful consideration of the most effective use of a
light source which cannot be turned off and on or placed in a convenient posi-
tion. In the production of professional motion pictures much of the charm,
as well as the effect of depth which goes so far to produce their elusive quality,
is achieved by the judicious use of back lighting. To the ample and well
balanced general illumination is added a spot or restricted flood of light, from
some point behind the subject, falling on the figures in such a way as to throw
the outlines into sharp relief, making them stand away from their background.
By a careful use of the tremendous amount of light at our disposal out of
doors, it is possible to capture much of this same quality in our films by using
either the sun, itself, or a brilliant reflection of it as the "spotlight" source of
back or side lighting. As the conditions under which long shots and closeups
are made necessitate somewhat different handling, it is perhaps well to discuss
them separately.
There is only one way to back light a long shot and that is to shoot toward
the sun. This does not mean that the sun should be included in the field of the
camera vision, but that it should be forward of the camera — not behind it.
When the sun is low in the sky, very pleasing effects are often possible with
the long shadows falling straight across the field of view or a little toward the
camera. With the sun high in the sky, it is possible to bring the shadows more
directly toward the camera. Pictures made in this way, if properly exposed,
are almost invariably more interesting than if made with the sun over the
shoulder or behind the camera. Perhaps the reason for this is to be found in
the old saying that the most interesting parts of a photograph are the shadows.
And because we are photographing a high percentage of shadows we must
make due allowance in regulating the diaphragm. Unless a silhouette is wanted,
it is an axiom that the more nearly we point our lens toward the sun, the larger
must be the opening of the diaphragm.
Much care must be exercised to insure that no direct rays of the sun touch
the lens or its mounting during the exposure. This can be prevented by seeing
that the camera is in complete shade. The lens shade provided with most
motion picture cameras will protect the lens from the greater part of the free
or reflected light, but the rays of the sun striking the inside or edge of this
shade may reflect enough light into the camera to destroy the quality of the
shot. Too great care cannot be given to this detail. The lens may be shaded
in an emergency by any handy object such as a hat.
When back lighted shots are carried to an extreme by pointing the camera
directly at the sun (which, of course, must be hidden by an object or by clouds)
and by using a sub normal exposure, they become silhouettes. If carefully
composed and properly timed, these may be used most effectively. Sunsets
seen through trees and across water are always striking shots.
In closeup work, it is possible to place the subject in softened or subdued
light, throwing the reflected light of the sun with a large mirror in such a way
as to give the desired back lighting. If the sun itself is used for back lighting
in closeup work, it is usually necessary to illuminate the faces or objects by
soft reflected light in order to secure sufficient detail in the shadows. White
sheets are better for this purpose than a harsher or more brilliant surface, as
they better preserve the modeling.
Closeup work, involving, as it almost invariably does, the problem of por-
traiture, is a subject requiring a deal of study and experimentation. Lighting
is of paramount importance and can only be mastered after much experience.
In either long shots or closeups it is important that the high lighted areas
be in line with a contrasting dark background. It is this sharp contrast be-
tween foreground and background that creates the desired stereoscopic effect.
It will be found no difficult matter to achieve this effect even in places where one
cannot choose an ideal background. The secret lies [Continued on page 446]
Careful choice of
backgrounds brings
a third dimension
R. I. Nesmith and Associates
Wh
ere we live
JAMES W. MOORE, ACL
SECOND only to one's family, the most immediate and
ever present subject offered the home movie maker is
the community in which he lives. And yet how few
really satisfying films of a city one sees. Perhaps here,
as with many another daily commonplace, we cannot "see
the forest for the trees." Perhaps we do not see the city for the
street corners which bound our small familiar part of it. A
larger view is needed, from which may evolve a scheme for
putting on film, in one way or another, the peculiar essence
of our surroundings. Analysis is needed, from which, in
turn, may be built up a synthesis which will be our estimate
of the city's significance. Most logical, perhaps, of the many
ways of picturing a community is to show its reason for being.
Is it a manufacturing center? Then let us show how, why
and where. Let us show a plenitude of labor, cheap power,
convenient sources of raw products and land particularly
suited for plants and factories. Let us present the outstand-
ing features of the industries benefiting by these conditions
and follow with scenes of the efficient highways, by rail and
water, which carry the city's products to world markets.
Then, lest the audience feel that our hometown is all work
and no play, the film of it might indicate in conclusion the
wealth, well being and general civic good fortune resulting
from its industries. Is another town essentially suburban?
Then let us show in our film of it that, though the majority
of its citizens take a daily train to work in the city, they live,
relax and play as regularly in the country. Here the golf
course and the tennis club, private homes and public schools,
housewives and growing children will be essential reasons for
the existence of the suburb and should so be featured in our
film. One could go on with illustrations almost to the number
of organized communities in the world. For behind each of
these centers, whether it be village, town, city or metropolis,
are reasons for its life, individual and significant. In follow-
ing the raison d'etre scheme of city filming, it is up to each
movie maker to get at
this significance and
transfer it to his pro-
duction, as best he may.
But. one might point
out, films of this kind
represent an evaluation
of a community by only
Schemes for giving
new viewpoints to
the home town film
Ewing Galloway
one mind, and often concern themselves predominately with
but one aspect of the subject. Such a feeling might lead to
a second scheme of city filming, more catholic in scope and
less serious in treatment. This scheme will be based on
"point of view" and will depend directly on the thesis that
to several different persons a set of identical physical objects
will mean several different things. Thus, the customary as-
pects of a city may be seen variously from the point of view
of a business man, a housewife, a young man and a school
girl. In working out this treatment in script form, the film-
ing plan might proceed as follows: Open with a long shot
establishing a family of four at ease in the living room. In
a medium and then a near shot we see Father opening a letter
and reading through it in amusement. He looks up and starts
to speak, as we cut to a quoted title, "Aunt Catherine is com-
ing up to visit us." Return to scene as he finishes this speech
and cut to longer shots as we note the reactions of Mother
and the two children (you may use your own judgment in
determining the character of these reactions, whether happy
or harried ) . The scene returns to Father as he flicks the
letter with his finger and continues, "She wants to know what
the city is like, what she can expect to see." Return to scene
and then swing to Mother in medium and near shot. She
reaches for the letter and says, "I'll write her a bit about the
town, the poor dear!" Return to Mother; she settles at a
writing desk, pen in hand. Fade out as she commences and
fade in on scenes which will represent the message of her
letter. Many things suggest themselves as those her point
of view will find in the city, shops, markets, her house and
garden, a movie palace, a bridge club or the family church.
All such scenes must depend implicitly on the point of view
of the protagonist and, as such, will serve to represent him,
as well as a phase of the city. Continuing with the scenario,
the boy decides next day to drop Aunt Catherine a line or
two. His letter might be depicted by scenes of football
games, swimming at the "Y" pool, drives with his girl along
the boulevards or a dozen other activities which represent the
city to him. And just so, depending on the point of view,
will the girl's letter and Father's differ from all others. In
the end we will have built up a composite picture that should
cover the city in detail.
Still another filming approach to the hometown lies in the
chronology of a single day. From [Continued on page 446]
A subtle placement
for your film from
newspaper posters
428
429
From "Little Geezer,"
an amateur satire of
Hollywood gangsters
EVERYONE enjoys comedy burlesque, and the moving
picture is such an integral part of life that there are
very few who will not find amusement in a good satire
on the product of Hollywood. Those who do not go to the
movies can always enjoy the comedy byplay, even if they
do not recognize the subtle digs. A burlesque is the easiest
type of photoplay for the amateur to produce for, while it
is difficult to compete with Hollywood producers on their own
ground in a straight story since amateur actors are apt to
suffer by comparison, in a burlesque, errors and crudities
only add to the fun.
As everyone knows, the Hollywood producers follow each
other like a flock of sheep. When a given picture proves to
be a success, there are bound to be countless imitations until
the story is exhausted and the public bored. Then another
idea is found to be a box office success and the cycle starts
again. The professional imitativeness makes it easy to find
subjects for burlesque. In fact, by the time the end of a
cycle is reached, the professional pictures, themselves, are
usually unintentional burlesques of the original plot. In the
same manner, good devices and bits of business are weakened
by repetition. A classic example is the race with death finale.
In the days of The Birth Of A Nation and Intolerance, it was
a very effective cinematic device, new and startling, peculiar
to the motion picture, alone, with its simultaneous, parallel
views of the distressed party and the rescuers. But when any-
one is saved in the nick of time today, it is almost ridiculous
because the trick, invented by D. W. Griffith, has been imi-
tated so often by inferior producers. Even the title, Came
the Dawn, wasn't such a bad connective link when it was
first used ! But now it is these worn out plots and devices
which make good burlesque material.
There are plenty of ripe plots to choose from. We have
had the war cycle, the western cycle (recurring often in dif-
ferent styles) the college series, the airplane, the backstage
Pagliacci theme, the mother love, the gangster, the lady with
the Past (usually based on the Camille theme) the news-
paper plot, a minor cycle of doctors and crooked lawyers
and now, it seems, a cycle on Hollywood is coming. It is best
to pick a story that has been done so often by professionals
that everyone will be familiar with the basic idea and it is
a good idea to take the general outline and salient features
of the original film hit for your burlesque, adding to it the
Charles DuBois Hodges
banalities and laugh provoking weaknesses of the last of the
series. The film must also be embellished with exaggerated
action, unexpected comic twists in the plot and caricature
in setting, costumes, makeup and characterization.
Burlesque depends on broad and coarse effects but, in
directing a burlesque film, the amateur movie maker must
see that the actors play their parts "straight," doing every-
thing seriously with only a slight exaggeration of expression,
emotion and gesture. The humor and comic effect comes
from the situation, the plot and the caricature. There should
be no smirks, smiles or suppressed giggles on the faces of
the actors. These will entirely destroy the effect. By all
means, let the audience do the laughing!
We have found children under twelve best suited as actors
for these pictures. The contrast in size with the original
adult film actors brings out, more sharply, the incongruity
necessary to satire. Adults, of course, can make good bur-
lesque stories, too, but children are born actors. They are
more easily available and are not troubled with self con-
sciousness.
All children are natural mimics; it is part of their makeup
as much as the instinct to play, and it is lost as they mature
even as the other childish instincts disappear. Young people
are always aping their elders and pretending that they are
grown up, so they jump at a chance to pretend, for a while,
to be cowboys, soldiers, aviators, crooks, policemen or what
not. This natural flair for impersonation makes them easy
to direct if one adopts a simple unaffected attitude.
If the amateur photographer is not making the film in
cooperation with an organized club or at a summer camp,
it is easy to collect a "gang." There is usually a youngster
in the family to start with. He or she brings a friend who
brings another until quite a sizable group is gathered. Or
one can use the "gang," present in nearly every neighbor-
hood, as a nucleus. Welfare agencies also offer a nucleus.
After explaining the
story, next comes the
choosing of the parts.
As little makeup will
probably be used, it is
best to cast by type,
using the ones that fit
[Continued on page 448]
Burlesque copies of
standardized plots
are sure of laughs
THEODORE HUFF, ACL
The mirror of burlesque
Even a doe is fair
game for the hunter
who uses a camera
A HUNTING expedition is one of those things that have to be presented on
the screen chronologically, even though it may be filmed in any sequence.
k Like many other subjects, it makes a lively theme if the pictorial and
dramatic elements are well balanced but a boring one if presented in a
matter of fact way. The chief pictorial elements are the scenery — especially
cloud effects, trees and streams — the dogs and the campfires. The dramatic
elements are the dogs in action, the start of the quarry (whether deer, dove or
duck, quail, grouse or rabbit) and the gun fire. The hunting story may be
summed up in four words, anticipation, suspense, shot, enjoyment. Leave out
any of these four ingredients and the picture will lose some of its attractive-
ness. An analysis of any of the professional one reel pictures of hunting will
show one how carefully these four elements are included. Almost all amateur
hunting films include the last two, but the first two are often lacking. This is
unfortunate because they supply the preparation, without which the climax is
rather dead.
It would be well to open the reel at the camp or the cabin, just as the party
is about to set out. If lights are available, the end of the hunters' hearty break-
fast at early dawn makes a good beginning. This introduction has the advan-
tage of setting the spirit of the film at the opening and of eliminating the trip
to camp, a continuity device so often used as now to have become commonplace.
In the scene of the breakfast we could show that it is dawn, and not night, by
including some sky through an open window. Then would come shots of the
last gulp of coffee, the hasty donning of hunting coat, slipping cartridges into
the pockets (with a big closeup) collecting pipe and matches, picking up the
guns and the start ! Next, a long shot of the camp as the hunters leave, with the
dogs jumping excitedly to hurry the men on their way. Get a sunrise if possible,
or at least a few beautiful scenic shots typical of the weather, of the country
and of the type of game the party is after. If it is a duck hunt, one may begin
with a very distant view of the lake seen through the tree tops and get down to
the shore in three scenes, the hunters always shown going downhill. It it is
quail country, let each successive scene look more and more like it. As the dogs
are the real stars of the picture, they must appear in every shot showing progress
toward the location. If they are carted in an auto down to the lake, a closeup
of them in the back of the car before it starts and another as the car rounds a
curve will keep up the interest. These are the scenes that supply the antici-
pation and stimulate the audience's interest in the three other sections to come.
The pointer or setter is the original suspense builder. It may be from watch-
ing his action when he stands poised and tense that dramatists have evolved their
basic idea of keeping the audience waiting after clearly planting an expecta-
tion. The hunting dog is the best actor in the world provided the game is there
(which, after all, means that he is no actor, since he cannot pretend). Perhaps
the best dog to use on a camera hunt is the English setter, whose contrasting
colors and silken hair lend themselves to the finest of photographic effects. Back
lighted by a high sun or side lighted by a low sun to show the delicate hair
texture, the setter's action cannot fail to be a source of delight to any audience.
Short haired dogs have little photographic value and some good bird dogs, such
as the springer spaniel, still less.
Preparation and getting down to the location may take altogether five or six
scenes, each with one or two closeups at least. So far, the effects have been
exclusively pictorial. Now the dramatic business begins. Let it be noted in
passing that, for the sake of continuity, the hunter should be one person and the
cameraman another; the latter should occupy a separate blind or boat in duck
hunting, to be able to vary his distance and his angles. The photographer's job
will be enough to keep one man's hands full. He may have to do rapid focusing
without a range finder. He will have to change lenses repeatedly. He will
have to be prepared to make a follow shot as soon as the game takes to flight.
(This should be done by holding the camera rigidly at eye level, keeping the
elbows firmly planted against the ribs and
rotating the torso as well as the head — a
steadier method than holding the camera
loosely up in the air with floating elbows.)
Now the hunter gets into the blind or
boat or, in the case of land game, into the
right kind of country. The preliminary
shots were nee- [Continued on page 447]
Getting into film
the excitement and
thrill of the hunt
PAUL D. HUCON
A-hunting we will go
430
431
The picture on the screen
HERBERT C. McKAY
Good screening is
made certain by a
few simple tasks
MR. FILMER, after several weeks
consideration, purchased a cam-
era. He had great sport making
his first film and, when it had been proc-
essed and returned, he looked it over
curiously. He then telephoned the store to
send him a projector. Four weeks to pur-
chase a camera and four seconds spent in
purchasing a projector! Yet that expresses the attitude of too many amateurs.
Few realize that, of the two, the projector is, if anything, of greater importance
than the camera. But even the best of projectors will not give the expected results
if it is not given proper attention and care. Most projectors are dusted externally
— and receive no further attention except when a bulb burns out. The service
given by projectors in spite of this neglect speaks highly for the quality of these
machines, but they will work at their best with proper care.
The projector should be protected from dust by a case or cover. Dust contains
fine grit which works into delicate bearings and, in time, this will cause excessive
wear. At least once a month the projector should receive a thorough cleaning.
Naturally the exterior is cleaned first. Then the projection lens should be
removed and the lens surfaces carefully cleaned. A well washed handkerchief
will serve but lens cleaning tissue is preferable. Cloth picks up dust and carries
it over the lens surface, scratching the soft glass. In time, the fine polish is
ruined and the lens will obstruct as much as half the light which should pass
through it. Oil and dust films will also do this. Clean lenses are of greatest
importance in home projection.
The condensing lenses, which are located in the lamp house directly in front
of the lamp, should also be cleaned. If they cannot be readily cleaned by wiping,
the solution used for cleaning spectacle lenses may be used to remove films of
oil or dust. These lenses are purposely mounted loosely. Do not alter the mount
to hold them tightly or the intense heat may crack the lenses by expansion.
Open the gate and examine it carefully. Some projectors are arranged so
that the gate cannot be fully opened but, in any case, the lens can be removed
and a long handled camel hair brush can be used to brush the edges of the
aperture. This should be done, not only when cleaning the projector, but just
before every projection of film. This prevents the disturbing fringes so often
seen at the edges of screens in amateur projection and so rarely seen in
theatrical projection.
No metal instrument of any kind should ever be allowed to touch the film
gate or aperture edges. A steel knife blade, for example, could not touch the
polished surface of the gate without leaving a microscopic scratch, which would
permanently mark every film projected.
The scratch itself is not the end of the injury, however. A scratch in a
projector gate may not have an immediately apparent effect on the films but.
as it cuts a tiny amount of emulsion, this emulsion piles up, becomes hardened
by the action of the heat and soon the scratch becomes a pile of rough gelatin
which literally gouges a track in the emulsion of every film run through the gate.
A projector scratch, if not promptly attended to, will continue to grow worse.
The only remedy for a scratched gate is repolishing or replacement. Some
amateurs have the ability to do this but, as it is a delicate and accurate job, the
projector should be returned to the service depot for repair by polishing or
replacement. At the first suggestion of a scratch, stop the projector immediately,
for a film once scratched is permanently scratched, and duplicates made from
that film will show the scratch just as badly as the original. It should be men-
tioned that scratch proofing treatment may be given any film, and will often
save films from bad scratching.
When the lenses and gate are perfectly clean, the projector should be oiled.
All oil holes are usually indicated. One well known projector has each oil hole
marked with a small spot of red enamel. The instruction book which accompa-
nies the projector indicates every oil hole and tells how much oil should be used
and the frequency with which the machine should be oiled. These instructions
should be followed to the letter. If they state that a single drop of oil should be
used every week, it does not follow that an ounce of oil once a year will serve
tli
e same purpose
Most projector owners oil their machines at too long intervals and use too
much oil when they do it. An oil flooded projector [Continued on page 454]
The real reward of
good filming lies in
good projection
William A. Palmer
Practical films
Record ■ During the excavation of the ancient Agora of
Athens, an archaeological work being carried on
by the American School of Classical Studies at Athens,
amateur made motion pictures proved of inestimable value
in recording the exact step by step processes of the discovery
and excavation of one of the most important of recent archae-
ological finds. In a news dispatch prepared especially for
Movie Makers, Dr. T. Leslie Shear, member of the Athens
expedition and lecturer on archaeology at Princeton Univer-
sity, writes in part as follows: "In the recent campaign a
statue of the Emperor Hadrian was discovered in an under-
ground drain, so that it was necessary to dig it out from
above. All the stages of excavation were taken with the movie
camera. First, the men are shown digging away the ten feet
of earth which lay above the statue; then the back of the
marble was uncovered, the statue was cleared and received a
preliminary bath. We then see the Emperor turned over on
his back on a wooden sledge, wrapped with burlap and blan-
kets, and the whole load slowly and carefully drawn up an
inclined way by means of a large derrick. Thus, by the pic-
tures of all details of the actual operations, not only are the
methods of work clearly demonstrated but the history of a
given terrain, its relation to its immediate neighborhood, the
deposit and stratification of earth and the conditions of burial
are permanently preserved. Therefore, it is obvious that one
of the frequent causes of archaeological disputes is obviated,
that is, the question as to the exact circumstances of discovery
of a particular object."
■ At Smith College, the Alumnae Association under the
guidance of Frances A. Copeland, ACL, has used amateur
movies for the second year in succession to record in detail
the gay and impressive activities of Commencement Week.
Planned to include reunion groups as well as the graduating
class, the films are screened at Smith alumnae clubs, where
they have proved an effective and popular addition to the
work of the Association.
■ The development of Rockefeller Center in New York City,
the largest building project under a single coordinated man-
agement yet attempted in the modern world, is being recorded
on 16mm. film for the office of the architects by Walter H.
Kilham. jr. In the more than twelve hundred feet of film com-
Bu
siness, civic
medica
sc
hool
and other uses
pleted so far, the draft-
ing of plans, model
making, demolition and
excavation of the site
and stages in the actual
construction are repre-
sented, as well as consid-
erable detail of the spe-
cialized work performed by the various building trades in-
volved. Copies of the completed film have already been made
for certain individuals and companies connected with the
project and it is planned to prepare a revised edition.
Church ■ Twenty eight thousand feet of 35mm. film and
2500 feet of 16mm. film came back with the
Reverend H. R. Ferger, ACL, from a four months' journey
through Siam, the Philippine Islands, China. Korea and
Japan and were delivered in New York City to the Board of
Foreign Missions of the Presbyterian Church. Showing the
educative work being carried on by the local missionaries
and indicating the need for a continued support of these
teachers, the films will be circulated by the Board throughout
the Presbyterian Church and other interested groups.
■ In the three reel, 16mm. picture, Palestinian Pathways,
William Russell Hamilton, ACL, pastor of the First Baptist
Church in New Albany. Ind., continues the interesting work
which he inaugurated last year with Mediterranean Border-
lands. Both are travel films of merit which, though of interest
to all, have been planned particularly for use with church
audiences and religious groups.
■ How the expenses were assured in advance for the rental
of a feature length religious film, the hire of an auditorium
and for miscellaneous minor items comes to light in the
ingenious scheme worked out by William S. Bixler, ACL, of
Ephrata, Pa. An amateur cameraman as well as a leader in
his local church, Mr. Bixler puts his camera to work for the
good of the cause. Instead of soliciting the customary program
advertisements among the local merchants, he offered them
advertising on film, both copy and pictures. They jumped at
the chance. Mr. Bixler shot four hundred feet of cine ads and
the show went on successfully and with all bills paid.
Dr. T. Leslie Shear
An archaeological
find in Athens is
recorded on 16mm
432
Untrained actors
gave fine results
if told the story
433
Eastman Teaching: Films, Inc.
An amateur studies
rofessional
ways
P
and gives comments
SOME time ago it
was my privilege
to spend six weeks
on location in various
parts of Virginia with
Eastman Teaching
Films, Inc., producing
the official motion pic-
ture on the life of George Washington for the United States
Bicentennial Commission. It was my first experience in the
realm of the professionals and it was a revelation, indeed, for
until then my movie making had been confined to the "op-
portunity shots" field of the not too leisured amateur. It was
a real photographic education. Never before had I realized
just how great an amount of care and attention to detail is
necessary for the production of a really worth while picture.
From beginning to end, the making of The Life Of George
Washington was a lesson in painstaking. Not only did the
film have to be good photographically, it had to be flawless
historically.
In selecting two actors for the role of Washington, one to
portray him as the young man depicted in the Peale painting
and the other to play the part as the older man shown
in the Stuart portrait, the production manager interviewed
scores of applicants who bore, or thought they bore, a re-
semblance to the first president. Of more than fifty of these
actors, screen tests were made and submitted to a committee
of authorities on the subject. Through these tests, two of the
actors, John Ferguson and Ellsworth Woods, were found to
be almost living images of the Peale and Stuart pictures re-
spectively. However, to confirm the choice, Mr. Ferguson
and Mr. Woods were arrayed in full Colonial regalia and
again subjected to screen tests, which also were approved
before production began.
As a result of this diligence in trying to secure perfect
characterizations, Virginia villagers, familiar with portraits
of Washington and seeing Mr. Ferguson or Mr. Woods on
the street in costume for the first time, usually looked as
if they were met by a ghost. One woman in the mountains
near Lexington, where most of the frontier and military
scenes were staged, actually took to her heels in terror after
one glimpse of Mr. Woods in full dress Colonial uniform,
probably to report in absolute earnestness that she had just
seen with her own eyes the shade of "G. W." at the head of a
phantom Colonial army.
The same care that was exercised in the casting was de-
voted to every other phase of the production. Only when
absolutely necessary were sets manufactured. Wherever pos-
sible, scenes were taken at the exact place where they were
originally enacted a century and a half ago. All of the cos-
tumes, furnishings and properties used had to have the ap-
proval of a group of experts as to whether they were of pre-
cisely the proper period in style and material. In a few
instances, the costumes were not costumes at all but the
actual garb of the original characters in the scenes being
reenacted, preserved and handed down through generations
of descendants. Some of the properties were genuine Wash-
ington relics. One scene shows a trunk which he carried
with him for many years, another his own writing desk. For
the first time a movie camera was set up inside Mount Vernon
and in Kenmore at Fredericksburg, the lovely home of Wash-
ington's only sister.
In the latter city, scenes were also made at the Mary
Washington House, the home of his mother, and at the Rising
Sun Tavern, rendezvous of pre Revolutionary patriots, as well
as in several historic private homes and in Independence
Hall in Philadelphia. More than half of the furnishings of
these places were original pieces.
Glaring incandescents blazed down on tables that once
were piled high with documents vital to the success of the
new republic, written by Washington under the flickering
light of a candle. A director's commands resounded through
halls that once echoed the tread of the founders of a nation.
Actors tried to appear at ease resting gingerly on chairs that
had given most of their strength to the support of portly
patriots more than 150 years before.
Occasionally, with a scene all set and the characters re-
hearsed, taking would be held up for an hour or more while
there ensued debate and research as to whether a certain
"prop" in the scene was of the correct period. Once in a
while a halt would have to be called so that all hands could
search frantically for some precious photostatic copy of an
original document that had been too carefully put away. Aye,
the price of authenticity is great pains and for those who
have the time and money necessary for really artistic and
effective amateur photography [Continued on page 448]
HORACE H. SMITH, JR.
Filming with the Founder
^^^^
"V-
Dayton Snyder
Closeups were made
of the hands when
fortunes were told
MOST camera owners don't seem to realize that a self respecting cine
camera has some pride of its own and is eager to turn out good films.
Being one myself, I know what I am talking about. I can tell you
that we get pretty tired of being casually and carelessly handled and that we
really do our best when our masters use a little ingenuity in picture making.
Further, we know a good job when we see it.
For example, there is the Hallowe'en party I attended last year. I don't
know when I was better treated or had such a good time. I note with pride that
the human guests say much the same thing when they see my films. There was
something doing every minute and I was involved in it all, right from the be-
ginning. I'm proud of the fact, too, that through my efforts the party will live
for years on the screens of many of the boss's friends, for everyone who attended
had a copy made of the entire reel, which is very flattering to a conscientious
amateur movie camera.
But let us get on with the party. You know that, as a rule, the filming at
such an affair doesn't begin until late in the evening. But this time the whole
party was planned to revolve around our cine activities from the start. To begin
with, some of the members of the household took the parts of the arriving guests
(so we wouldn't have too much moving of lights to do later). I took closeups of
their feet, from the ground, while they came in through the gate and went past
up the walk.
By the time the real guests had begun to arrive, I was waiting for them further
up the walk so I could get full length views of them. The boss had put a couple
of lamps on the left side of the walk and I had a position on the right side. They
were placed a little behind me, so I did not find them shining in my lens. (Light
shining directly in one's lens is certainly most disagreeable.) After this, to
keep the continuity going, a few of the people were taken just outside the door
of the house. Photoflood bulbs were placed on either side of the door, and the
closeups were made through the window in the door which framed the subjects
very effectively. My boss always uses reflectors with photofloods because not only
does their use keep the lights from striking my lens and fogging the film but,
also, it gives me much more light to work with. A three inch lens was used for
the closeups through the window and then, when the door was opened, a wide
angle lens was used for a scene which showed the hostess greeting the arrivals.
When this scene was made, the photofloods were moved inside the hall.
We had still another novelty for our introductory sequences. We invaded
the dressing rooms and made a few shots of the guests getting "smoothed up"
for the party. We did not use very much film on these shots because we re-
alized the more interesting scenes were to come later, but we did make some
rather nice ultra closeups of a lipstick being applied to a pair of lips that
really didn't seem to need it.
In getting ready to picture the various activities of the evening, the boss,
upon reflection, decided that there should be ghosts all through this film to
provide the proper atmosphere. To provide the ghosts, we shot various people
against a black background. Then the film was rewound in the camera (we
used the backwind attachment to good advantage in several scenes besides these)
and the same footage was again exposed for the next scene. The result of this
procedure was that, when the film was projected, every so often the apparition
of some member of the party would suddenly appear and the effect was ghostly
in the extreme, the more so because sometimes there were double or triple and
even multiple images. This effect confused me at first but I soon found out
that it was caused by an attachment which was placed in front of my lens.
However, let's get back to the beginning of the real festivities. The time
honored custom of apple bobbing came first. A rather large white enamelled
pan was used to hold the water and, while a number of people all bobbed at the
same time, I caught the scene from a rather high angle, perched on a tripod
placed about half way upstairs and, while I mention tripods, let me say that my
boss always uses one. In fact, I feel as
though one is part of me. My pictures are
always steady. To avoid the monotony of
filming a subject from a single viewpoint,
we moved down the stairs for some close-
ups. We got a trick shot on this, too, by
having one of the guests hold an apple in
his mouth and [Continued on page 449]
This one tells how
the weird festival
was placed on film
C W. GIBBS and R, G. PECK, JR.
A Halloween camera
434
435
Amateur clubs
JAMES W. MOORE, ACL
Latest news of
group activities
and photoplays
Fall programs ■ With the foregathering
once more of hundreds
of clubs for a new year of activity, the
thoughts of club directors and officers will
turn naturally to the problem of suitable
programs. Chief of the many possibilities
should be a club contest. Hundreds of feet
of film shot during the summer will be new
and fresh to fellow members, a challenge to their ability. Hundreds of feet will
call for editing and titling and a contest will serve admirably as that needed
stimulus to get them in shape. Further, holding a contest gives one of those rare
opportunities in club programs for every member of the group to take an active
part. Where a contest is scheduled, it should be planned early in the year and
thus allow adequate time for the preparation of entries before a closing date set
during the middle of the winter season. Then, should a number of clubs wish
to compete with each other in an intersectional competition, entries will be
ready to hand representing the best work of each group.
In all of this the Club department of the League will be glad to aid. We can
offer suggested regulations for a simple or an elaborate contest. We can outline
a plan of judging, whether by the members or by a selected board. Later, should
your club wish to place its best films in sectional competition with those of other
groups, we can put you in touch with your nearest neighbors and aid, through-
out, with organization and detail. The Club department will welcome hearing
from you on this or other club activities and will be glad to help you with all
of them in every way possible.
Satirizes ■ Using a cast of more than one hundred, the University of Southern
California Cinema League, at Los Angeles, has produced Holly-
wood On Parade, 1600 ft., 16mm., a satire of outstanding scenes and episodes
from current professional releases. The production, which was given a premiere
screening at the annual banquet of the club, was directed by Bryant Hale and
photographed by Reeves Templeton. C. A. Stark and Dorothy Weisminger, prime
movers in the formation of this campus cine group, will be in active charge
again this year.
Film picnic ■ ^ne ^rst annuai picnic of the Greenbrier Amateur Movie Club,
of White Sulphur Springs, was held with great success at the
summer camp of the Greenbrier Military School, Caldwell, W. Va., where
swimming, canoeing, fishing, tennis and track events were filmed in detail by
club secretary Hal Morey, ACL. Unusually attractive announcements, identifi-
cation tags and stickers, prepared by the picnic committee, added gaiety to the
occasion. Mr. Morey, representing the club, is contributing a regular column of
Cine Chat to The Portico, a pleasant weekly publication of the Greenbrier Hotel.
Contest ■ fR Paris* France, a contest is being sponsored by Cine- Amateur,
a journal of home cinematography, to select the best French ama-
teur films of 1932. Two classes will be represented — the photoplay and the
newsreel, travel or scenic film — and all pictures must be on 16mm. or 9.5mm.
stock. Entries must reach the offices of Cine- Amateur , 47 rue de la Victoire,
Paris 9e, before midnight of October 31st to be accepted.
Vacation films ■ Meeting under the direction of their president, J. W. Lee,
the Richmond (Calif.) Camera Club projected members'
vacation films, among which were featured reels of Lake George, by Mr. Lee
and Kodacolor pictures of Bryce Canyon, by J. Moore. H. M. McKay, of the
Cinema Club of San Francisco, demonstrated the results of his recent experi-
ments in film toning and M. A. Garland discussed and demonstrated angle
shooting and lighting in the making of still pictures.
East Boston ■ A one reei burlesque comedy, Neapolitan Rascals, replete
with custard pies and all of the other standard accoutrements
of slap stick humor, was produced in East Boston this summer by the Candida
Cinema Club, according to the report of club president Joseph Marino. Previous
to this production, the group had completed The Candida Cinema Review, a
newsreel. An active drive for increased membership [Continued on page 451]
Filming "Markheim"
by English Club at
Stanford University
William A. Palmer
436
To fit every background
MALCOLM G. JACKSON, ACL
How to build your
own title device
for universal use
A GREAT deal has been written about titles
in the past and doubtless a great deal
i will be written in the future, for titles
are necessary in almost every amateur motion
picture. Although making one's own titles is not
a task, any device that makes automatic the
proper placing of the camera, the arrangement
of the lights and the set up of the title board
would be a useful one. Building a title stand that includes these advantages is not so
difficult as it might appear, for the lumber and hardware supplies may be found in
any city or village and but a few simple tools are needed.
The writer has designed an easily constructed title stand that includes all of the
normal advantages of a title making device and is adaptable to title card sizes ranging
from three and a half by four and a half inches up to and including an area of eleven
by fourteen inches. This range affords a wide selection of title sizes including Movie
Makers backgrounds. It makes possible the use of backgrounds from a variety of
sources, among them, photographs, movie frame enlargements, magazine illustrations
and postcards.
A list of materials needed will be of help at this point. One length of three quarter
inch plywood, three inches by forty five inches, and one length, three inches by
eighteen inches, a board of half inch plywood, twelve by fifteen inches, and one block
of white pine, four inches long by one and one half inches square, may be purchased
at a lumber mill or yard. Two, three inch lengths of three quarter inch brass or
aluminum angle, seven flat head stove bolts, two and one half by one quarter inches,
and a half dozen small wood screws may be obtained at a hardware store. Two tall
coffee tins and two porcelain base lamp sockets furnish the lighting equipment.
We now have the parts which are lettered in the diagram on page 450. After squar-
ing and sanding them they are ready to assemble. Take the four inch block of pine "C"
and drill a quarter inch hole through the center of one of the long sides. This block
is then fastened flush with the bottom and in the center of the board "B" with two stove
bolts. All flat head bolts should be countersunk so that they are flush.
The quarter inch hole drilled in the center should be parallel to the twelve inch
length of the board. The two angles "D-D" are fastened with wood screws to the
bottom of "B" and "C" with their long sides at right angles to the twelve inch side of
the title board "B". The distance between these angles should be such that they will
form a sliding, friction fit with the base "A". Place the board "B" upright on the
base "A" so that it will slide along its length. Bring the block "C" flush with the end
of the base. With it in this position place a stove bolt in the hole and give it a tap with
a hammer. It will leave a mark on the base "A". With the board "B" remaining in
this position, measure from the front surface thirty six inches along the base "A".
Draw a line across at this point. This establishes the line above which the lens will
be placed. Now slide the board "B" along the base until the surface of the board toward
the camera is twenty eight inches from the line marked for the lens. When in this
position mark with a bolt as previously described. Repeat this operation for the fol-
lowing distances from the lens; twenty four, eighteen and twelve inches. Remove the
board "B" and drill where marked on the base. This will give five standard distances
at which the board may be used. A stove bolt is used to bolt the board to the base at
any one of these points. If metal angle lengths are not available for the guides, wood
blocks may be substituted as shown on page 451 in the photograph of an adaptation
of this title board. A great help in making the entire assembly true and square will be
found in a carpenter's steel square, with which the alignment should be tested con-
stantly. This will also be found useful in aligning the camera.
Next comes the assembly of lamps. Cut the coffee can, as shown in the illustra-
tion at "E", removing about one quarter of the material. This will prevent light from
straying into the lens. Take the eighteen by three inch block of wood and cut a quarter
inch slot in the center of each end. This slot should be about six inches in length
and will provide a means of moving the lamps to adjust the distance from the center
of the base. The porcelain sockets are each mounted on a square or circular piece of
wood and a stove bolt passes through the center of this which slides in the slots. In the
center of the eighteen inch block, drill a hole and by means of another bolt fasten
it to the base "A". Wiring for the lights may be arranged with switches or in any
manner the maker wishes.
Last, but not least, comes the mount for the camera. Although dimensions will vary
with the different makes of cameras, two points must be the same. The lens must be
thirty six inches from the title board at its farthest point [Continued on page 450]
The art title background
on the facing page may
be used on the title board
Photograph from Ewing- Galloway
Title by Ralph R. Edo, ACL
■***:* mmti
1
IF3
^fffl- . , I iM
p!
#*
$
H0i
B3
m
M
119
JB
■
»
^h9
Ban
■in
438
OCTOBER 1932
LAm-KOuaJc Cdq ht
A (
This new-principle
movie camera makes
every foot of film do
the work of four . . .
saves exactly 62/2 per
cent in film costs
NOW practically everybody can afford tc
make home movies. Initial cost, upkee]
expense, no longer stand in the way. For Cine
Kodak Eight cuts camera and film costs to a leve
well within the reach of those who feel they can
not afford the special features of 1 6 mm. equipment
Cine-Kodak Eight is small, simple. A pocke
movie camera . . . yet it gives an amazingly efficien
Kodascope Eight, Model 20, for 60 cycle,
A. C. lines. This projector costs only
$22.50 yet it shows clear, brilliant mov-
ies of satisfactory size.
MOVIE MAKERS
439
MUINE CINE-KODAK AT
md satisfactory performance. It has a Kodak Ana-
:tigmat/.3.5 lens, built-in exposure guide, self-
letting footage indicator, and eye-level finder.
How Cine-Kodak Eight Saves Money
Cine-Kodak Eight loads with a 2 5 -foot roll of
ipecial 16 mm. film. But it exposes only one-half
he width of the film the first time you run it
through, then the other half when you run it
through again.
Each image is only half as high and half as
wide as the 16 mm. image. Hence, you get four
images in the space of one . . . and 25 feet of film,
costing only $2.25, gives a four-minute showing.
At no extra charge, Eastman processes the film,
slits it down the middle, splices it end to end, and
returns it to you on a 50-foot reel, 8 mm.
wide. Either of the two Kodascopes Eight
assures you of a brilliant, faithful showing.
Be among the first to get acquainted
with this remarkable new movie camera
. . . and pass along the news to the scores
of friends who have envied you your movie-
making fun.
As a gift to anyone for whom you wish
to open a new field of entertainment . . .
Cine-Kodak Eight is a fortunate selection.
On All Eastman Cameras,
Eastman Pays the Federal Tax
Eastman Kodak Company, Rochester, N.Y.
Kodascope Eight, Model 60, has many refinements
found only on projectors priced much higher. For 60
cycle, A. C. lines, it costs but $75, including case.
438
OCTOBER 1932
//
II
I ,
OCTOBER 1932
MOVIE MAKERS
A GENUINE CINE-KODAK AT
This new-principle
movie camera makes
every foot of film do
the work of four . . .
saves exactly 62/2 per
cent in film costs
NOW practically everybody can afford to
make home movies. Initial cost, upkeep
expense, no longer stand in the way. For Cine-
Kodak Eight cuts camera and film costs to a level
well within the reach of those who feel they can-
not afford the special features of 1 6 mm. equipment.
Cine-Kodak Eight is small, simple. A pocket
movie camera ... yet it gives an amazingly efficient
and satisfactory performance. It has a Kodak Ana-
stigmat/.3.5 lens, built-in exposure guide, self-
setting footage indicator, and eye-level finder.
How Cine-Kodak Eight Saves Money
Cine-Kodak Eight loads with a 25-foot roll of
special 16 mm. film. But it exposes only one-half
the width of the film the first time you run it
Kodascope Eight, Model 20, for 60 cycle,
A. C. lines. This projector costs only
S22. 50 yet it shows clear, brilliant mov-
ies of satisfactory size.
through, then the other half when you run it
through again.
Each image is only half as high and half as
wide as the 16 mm. image. Hence, you get four
images in the space of one ... and 25 feet of film,
costing only S2.25, gives a four-minute showing.
At no extra charge, Eastman processes the film,
slits it down the middle, splices it end to end, and
returns it to you on a 50-foot reel, H mm.
wide. Either of the two Kodascopes Eight
assures you of a brilliant, faithful showing.
Be among the first to get acquainted
with this remarkable new movie camera
. . . and pass along the news to the scores
of friends who have envied you your movie-
making fun.
As a gift to anyone for whom you wish
to open a new field of entertainment...
Cine-Kodak Eight is a fortunate selection.
On All Eastman Cameras,
Eastman Pays the Federal Tax
Eastman Kodak Company, Rocbut»r,N.Y.
Kodascope Eight, Model Co, ha< many rtfitltmi "l
found only on projectors priced much higher, Foi go
cycle, A. C lines, it costs hut $7 5. including case.
440
man Kodak Company
Pockette takes Color ■ Following hard on the heels of
the recent adaptation of the
popular Simplex Pockette camera to the fast lenses of Hugo
Meyer, comes the present announcement that this handy little
camera is now available in a model that will take Kodacolor.
This is of particular significance in a camera of this type,
which is threaded simply by inserting a magazine containing
the appropriate film. Thus, color subjects may be taken alter-
nately with those in black and white by the simple operation
of removing one magazine and inserting another. This may
be done with facility at any period during the exposure of
the film, the process involving the loss of one frame only. It
is interesting to note, in this connection, that the International
Projector Corporation is one of only five present licensees
for this popular process.
Repeater Kodascope
A device for running 200 feet
of 16mm. film continuously
through a Model C or a Model K Kodascope has recently
been introduced by the Eastman Kodak Company of Roches-
ter, New York. With this "Kodascope Repeater" it is not
necessary to rewind or rethread the machine at the conclusion
of the film. A Kodascope with this attachment, used in a
booth or show window, should prove invaluable for ex-
hibiting films to shifting audiences and for sales demonstra-
tions where a continuous motion picture message is desired.
Enter BoleX ■ ^ new development in the 16 and 9.5mm.
fields is being presented to the American
amateur in the form of the new Bolex projector, already well
known and extensively used in Europe, and manufactured by
Paillard et Cie, S. A. of Switzerland. This machine will be
marketed here according to a new system devised by a promi-
nent figure in the 16mm. field. Through this system there
will be an exclusive agency for the projector in each city;
these will form a nation
wide chain which will be
equipped for sales and
for complete servicing.
The Bolex projector is a
well built and sturdy
machine and carries
every qualification of a
Answers the query,
"What's new?" for
amateur and dealer
Showing Eastman's
three film widths
for movie making
good projector. It has a wide aperture lens and uses a special
250 watt lamp of European design which bears the unusual
guarantee of 100 hours' life. Most remarkable is the fact that
this projector runs both 9.5 and 16mm., the change over
from one width to the other being made at the desire of the
operator in a few seconds without the aid of tools. The stand-
ard projector for either 9.5mm. or 16mm. width is being sold
at $99.00 or the combination for $109.00.
Leica foCUSer ■ The popular Leica camera has appeared
recently with a new built in range find-
er. This efficient little camera is made easier to operate than
ever by combining the range finder with the focusing device.
The user need only sight through the finder, adjust the two
images thus seen until they coincide and snap the picture.
The appearance of the Leica has not been changed materially
nor has there been any appreciable increase in weight. The
range finder supplements the viewfinder although it may be
used without the regular finder for speed work. An addi-
tional refinement is found in the rewind knob for rewinding
the film into the magazine. It has been made so that it may
be pulled clear of the camera body for turning. A very inter-
esting booklet describing the new Leica may be had by writ-
ing to E. Leitz, Inc., 60 East 10th Street, New York City.
B & L BiophorS ■ An entirely new series of projection
lenses for 16mm. film has been an-
nounced by Bausch and Lomb, pioneer manufacturers of
high grade lenses. It is claimed that "professional" screen
results may be obtained with these lenses in the matter of
definition and evenness of illumination. Supplied in varying
focal lengths, they provide a range of screen images which
may be widely varied in dimensions at any given distance or
"throw." It is interesting to note that one of the founders of
this great concern was recently accorded outstanding recog-
nition by the unveiling of a monument to his honor in a pub-
lic square near the Bausch and Lomb factory. Captain Henry
Lomb came to this country at the age of 21 and from shortly
after that time until his death he was engaged in building up
the fine reputation of the firm which bears his name. It was
fitting that this man who gave so much of his time to civic
works should be honored on Memorial Day when thousands
of his comrades of the Civil War [Continued on page 456]
News of the industry
MOVIE MAKERS
441
CLEARANCE SALE OF
LIBRARY SUBJECTS
Slightly Used but in Qood Qondition
See Catalogue for Descriptions and number of reels in each subject.
We have too many copies of the following subjects — and offer them for sale at very
lotv prices. All library reels of nearly 400 feet average length.
Orders filled in rotation, subject to prior sale.
SUBJECTS FOR SALE AT £7.50 PER REEL
■Miss Bluebeard
■The Spanish Dancer
■The Grand Duchess and the Waiter
■Are Parents People
■Dancing Mothers
■Ella Cinders
8144-
8145-
8150-
8156-
8157-
8 If 4-
111 6 — Flying Cadets
8069 — Let's Go
8076 — Daddies
8141 — Manhandled
8142— The Night Club
8143 — The King of Main Street
SUBJECTS FOR SALE AT
4032 — Monkeying Around 805 0-
403 3— Oh Ma, the Kent Taker 8062-
4036 — His Wedding Daze 8080-
4039 — The Hicksville Terrors 8086
4043 — The Whirlwind 8094
4044 — The Dixie Madcaps 8099-
4046 — A Dog in the Manger 8100-
4047 — The Circus Imps 8101
4048 — The Fast Male 8102-
4051 — Help Yourself 8103
405 5 — The Submarine Pirate 8104-
405 8 — It's a Bear 8105
4061 — A Wild Goose Chase 8106
4067 — When Knighthood Was in Tower 8107
4068 — Sherlock's Home 8108
4069 — Little, But Oh My! 8109
70 5 7 — Flapper Number One 8110
8 0 1 0 — The Wakefield Case 8111
802 2 — The Forbidden City 8112
8024— A Pair of Silk Stockings 8113
8 02 6— One Week of Love 8114
8034— Go Get 'Em 8138
SUBJECTS FOR SALE AT
1 043 — Castles in the Air 8013-
1070 — Polygamy and Palomitas 8016-
1095 — Hitting the High Spots 8051
4040 — Angel Cake 8052
4056 — Helpful Hogan 8097
4087 — Tough Luck and Tin Lizzies 8118
40 8 8 — Plagues and Puppy Love 812 5
801 1 — The Little Duchess 8127
£5.00 PER REEL
— His Own Law
—La Traviata
—Martha
—II Trovatore
—Try and Get It
—The Knight in Gale
—Six Second Smith
—Two Stones With One Bird
—The Knight That Failed
—A Grim Fairy Tale
—Judy Punch
—So This Is Hollywood
—She Supes to Conquer
—The Taming of the Shrewd
—The Wages of Cinema
—Babes in the Hollywoods
—The Switching Hour
—A Jungle Heroine
—A Jungle Tragedy
—Beasts of the Veldt
—The Weretiger
—His Majesty Bunker Bean
£3.50 PER REEL
—The Wishing King
—The Moonstone
—Brass
—Bright Lights of Broadway
—One Arabian Night
— Beyond the Rainbow
— Eyes of Youth
Flesh and Blood
An Unusual Opportunity for Dealers Operating Rental Libraries
Specify alternates in case first choice has been sold. The available supply will go quickly
at these prices. Many of these subjects can be rented for examination from the nearcs.
Branch Library atid rental will be credited on sale price if purchased.
KODASCOPE LIBRARIES, Inc.
33 West 42 nd Street, New York
Branch Libraries and Distributors in Fifty of the Leading Cities of the United States and Canada
SUBSIDIARY OF EASTMAN KODAK CO.
442
OCTOBER 1932
Film
THE HISTORIC TOUCHDOWN
WITH
HUGO MEYER
TELEPHOTO LENSES
Formations, kicks, the long runs
of the star players, forward
passes, the final touchdown, all
these details of the football
match afford ideal shots for your
telephoto lens . . . and for best
work in this field, we suggest
that you investigate the merits
of Hugo Meyer Tele-Megor
and Trioplan Telephoto Lenses
whose high optical qualities af-
ford critical definition of distant
objects and faithful reproduc-
tion of all details on the screen.-
Tele-Megor
f/4
3 inch focus. $58
4 inch focus. . 70
6 inch focus. . 95
9 inch focus. .150
Trioplan
f/2.9
2 inch focus. .$45
3 inch focus. . 55
4 inch focus. . 63
Hugo Meyer
lenses are
part of the
standard
equipment of
Victor and
Simplexcam-
eras.
Catalog on Request
HUGO MEYER & CO.
245 West 55th Street, New York
Works: Goerlitz, Germany
The nest egg — A short scenario
IAN VOHR
A six minute scenario which
may easily be filmed during
a free afternoon or evening
Scene 1. Medium shot. A living room
with a window opening on the street.
A canary bird or parrot in a cage.
(Note: bird may be dispensed with, if
desired.) Miss Matilda Barron, spinster,
with spectacles, is seated, knitting, in
an armchair near the window. She
sighs and looks up at the bird. She
looks out of the window, at first casually
and then intently.
Scene 2. Medium shot. A park or
garden. A young couple, obviously in
love, are walking slowly toward the
camera. They pause and kiss linger-
ingly.
Scene 3. Semicloseup. Miss Matilda
in her chair looks out of the window,
following the young couple with her
eyes. She turns, sighs, takes up knitting,
looks at the bird sadly and shakes her
head. She resumes her knitting and then
she indicates that she hears something.
Scene 4. Closeup. A man's hand on
the doorbell.
Scene 5. Semicloseup. Miss Matilda
puts down her knitting, rises and leaves
the scene.
Scene 6. Medium shot. Inside a closed
front door. Miss Matilda comes into the
scene and starts for the door. She looks
down, and the camera is tilted down-
ward, following her eyes. A letter has
been shoved under the door into the
room and Miss Matilda picks it up. Tilt
the camera back up as Miss Matilda
straightens up. She opens the letter and
starts to read it, showing pleasure as
she continues.
Insert closeup. The letter, held by
Miss Matilda's hand, reads as follows:
Reliable Chicken Farm
Matilda Barron, Prop.
Chester Corners.
Dear Madam:
Hearing of the guaranteed freshness
of your eggs, I wish to order a crate of
same by express, at once.
Please give this matter your personal
attention, as the members of the club
are very particular.
Yours truly,
S. PAGETTY,
Steward
SP.UD Bachelors Chess Club.
Scene 6. Continued. Miss Matilda fin-
ishes reading the letter. She is flustered
and pleased. She puts letter back in
envelope and hurries out of the scene.
Scene 7. Medium shot. Neat kitchen,
showing cupboard and table, on top of
which is an egg crate filled, except for
three eggs. Miss Matilda enters hur-
riedly, goes to table and looks at crate.
Scene 8. Semicloseup. Miss Matilda
counts the empty spaces in the crate
with her finger, opens the cupboard and
takes out a dish with four or five eggs
in it. She selects three and fills up the
empty spaces. When she has done so,
she pauses and looks admiringly at the
full crate. She is about to close the lid
when a big idea occurs to her. She
pauses, thinking, with a rapt expression
on her face, and then gets a pencil from
the cupboard, picks up one of the eggs
and writes on it. She pauses and looks
at what she has written.
<?('**£/
"Oh — do come over! We're showing a hundred feet of mamma!"
MOVIE MAKERS
Scene 9. Closeup. The egg held in
Miss Matilda's hand. On it is written:
Miss Matilda Barron,
Chester Corners, N. Y.
Scene 10. Semicloseup. Same as
Scene 9. Miss Matilda is looking at the
egg with a rapt expression. She holds
it to her heart for a moment and then
puts it in the crate and closes the lid.
Fade out.
Scene 11. Fade in — medium shot. A
corner (any plain background will do)
in which is a small breakfast table set
for one. Coffee in cup, etc. Seated at
the table is Mr. Benedict, a fussy,
dressy bachelor. A waiter places an egg
in an egg rest before Mr. Benedict. Mr.
Benedict cracks egg open with knife. He
pauses and looks at the egg, eats a bit
of it and then a horrified expression
comes over his face. He sniffs the egg
and then rises in wrath, expostulating
to the waiter. Fade out.
Scene 12. Fade in - medium shot.
Front porch. Miss Matilda is looking at
the mail box. She finds a letter and with-
draws it, looking at the address. She
turns the letter over, looking at it and
then goes on into the house.
Scene 13. Semicloseup. Miss Matilda
in the living room. She is opening the
letter. She reads it with manifest de-
light.
Insert closeup. The letter, which read
as follows:
Miss Matilda Barron
Chester Corners, N. Y.
Dear Madam:
Written on the shell of an egg served
to me today at my club was your name
with address. I shall do myself the hon-
or of calling on you at once.
Very truly yours,
JAMES BENEDICT.
Scene 14. Same as Scene 13. Miss
Matilda finishes reading the letter and
an expression of joy comes over her
face. She reads it again quickly and
glances out of the window.
Scene 15. Medium shot. The young
lovers in the park. They are holding
hands and the young man has his arm
about the girl's waist.
Scene 16. Semicloseup. Same as Scene
14. Miss Matilda sighs and presses the
letter to her heart. Fade out.
Scene 17. Fade in — medium shot. A
bedroom. Miss Matilda is primping in
front of a mirror. On the dresser is Mr.
Benedict's letter to which Miss Matilda
refers as she fixes her hair.
Scene 18. Closeup. Man's hand on
doorbell.
Scene 19. Medium shot. Just inside
the front door. Miss Matilda hurries
into the scene with letter in her hand.
She is very nervous and pauses before
opening the door for a final touch to
her hair, straightening her dress. She
opens the door. Two men enter, the first
carrying a lawyer's brief case. The sec-
443
UO WEST 32nJfTREn> N.Y.
Announcing the New
SIMP-LO TITLE MAKER
FOR OWNERS OF
SIMPLEX POCKETTE 16 MM. CAMERA
NEW MODEL CINE-KODAK 8
AND ALL OTHER MODELS OF CINE-KODAKS.
It's all metal!— folds up in a small space, easily carried. Titles can be typed or
handlettered — pleasing effects produced by using varied back-grounds. Roller
device on card holder enables one to
make "creeper" titles very easily.
Use natural light — or one Photo-flood
lamp and lens with //8 opening, for
indoor pictures.
Small objects may be photographed
by fastening the titler to upright sup-
port.
Supplementary lens compensates tor
the short distance, and is adjustable
to all cameras used &L^^ CSO
with this titler. Com- 3>Bl^"^V
plete \Jr
WILLO INSPECTION MAGNIFIER
An extremely fine magnifier for inspecting
16 mm. film. It is fitted with a ground glass
over light opening which gives an ^^
even illumination over the entire *P^^
frame of film. *"
WILLOUGHBy;'l6MM LIBRARY
Prices Lower Than Ever!
With "D" Coupon book, rates for features as low as $1.50;
Single Reels, 37c.
Many new subjects have been added recently including:
LITTLE ACCIDENT EAST IS WEST
COHENS & KELLYS IN SEED
AFRICA
Featuring: Douglas Fairbanks, Jr., Edward G. Robinson,
Anita Page, Lupe Velez, Zasu Pitts, and others
444
OCTOBER 1932
Entirely
New!
BIOPHOR
LENSES
Brighter,
Clearer,
Greater
Detail
An entirely new projection lens that incorpo-
rates the advantages of all other 16mm. lenses.
The Biophors. Highly corrected. Made by the
manufacturers of Bausch & Lomb Cinephors
(used in the leading theatres).
The proper size picture means more realism
and better perspective. Biophors in several focal
lengths permit picture widths of 1 foot up to 11
feet or more; or a projection distance of 3 feet
to 100 feet and beyond. In every case with crisp,
sharp, contrasty images, truly even illumination
from center to edge, and the most "profes-
sional" results of which your illuminating system
is capable. Ask your dealer or write for de-
tailed literature.
BAUSCH & LOMB
OPTICAL COMPANY
679 St. Paul St. Rochester, N. Y.
The Centre
of Sydney
The Social Life of the Second City of
the British Empire revolves around
this famous hotel. Delightfully con-
venient to shops, theatres and busi-
ness houses. Magnificently illustrated
booklet for tourists free on request.
Wireless Address : Austraotel, Sydney.
THE AUSTRALIA HOTEL.
The Hotel of the Commonwealth
Sydney, N.S.W., Australia.
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters
H. W. Knight b Son, Inc., Seneca Falls, N. Y.
ond is Mr. Benedict. Miss Matilda is all
smiles. She speaks to the lawyer, say-
ing:
Title 1. "Are you Mr. Benedict?"
Scene 19. Continued. Lawyer steps
aside and Mr. Benedict advances, indi-
cating himself, saying:
Title 2. "/ am Mr. Benedict. This is
my lawyer."
Scene 19. Continued. Miss Matilda is
alarmed, then shows them her letter and
graciously invites them in. Mr. Bene-
dict shakes his head, touches lawyer on
the arm and points to the brief case.
Lawyer takes folded paper from the
brief case and hands it to Miss Matilda.
She opens it and looks at it.
Scene 20. Closeup. Legal paper, fold-
ed, on outside of which is typed: Sum-
mons for violation of the Impure Foods
Act. Health Department.
Scene 21. Medium shot. Same as
Scene 19. Miss Matilda looks at the
paper and falls in a faint, letting paper
fall to the ground. Mr. Benedict picks
up paper and slams it down viciously
on top of the prostrate Miss Matilda.
Then, the men go out of the door.
Scene 22. Medium shot. Same as
Scene 21, but from a different angle.
Miss Matilda comes to, rises with diffi-
culty, clutching the paper, and staggers
out of the scene.
Scene 23. Medium shot. The kitchen.
Crate about filled with eggs is on table
near the window. Miss Matilda staggers
in. the paper in her hand. She puts it
down angrily and stands staring at the
crate of eggs. She sighs and picks up
an egg. looking at it. She looks out of
the window.
Scene 24. Medium shot. The park.
The two lovers are nearer than before.
Their backs are to the window and they
are in an embrace.
Scene 25. Medium shot. Same as
Scene 23. Miss Matilda is staring at the
lovers. She raises her hand holding the
egg. She throws the egg.
Scene 26. Semicloseup. Same as Scene
24. The two young lovers in close em-
brace. An egg hits the young man on
the back of the head, then another and
then a third. Fade out.
Filming notes ■ The filming of this
scenario should
not be difficult. All of the interior scenes
may be taken at one time — during an
evening, if this is desirable. The ex-
terior shots, Scenes 2, 4, 12, 15, 18, 24
and 26 could be filmed later during
the daytime. The three scenes of the
young couple in the park could be
staged in a park, a garden, backyard or
a street, depending upon which was the
most convenient. Although these scenes
are represented as being located just
outside Miss Matilda's window, of course
in reality, they might be staged any-
where. All of the interior action can be
filmed with two Photoflood bulbs or
two five hundred watt lamps and super-
sensitive film. One five hundred watt
lamp might be used with supersensitive,
a fast lens and a good reflector.
The term, medium shot, refers to a
distance from camera to subject that
permits including all of the subject
from head to foot. Semicloseup refers
to a distance from camera to subject
that permits including the subject from
the waist up. Both of these terms are
approximations and exact camera dis-
tances can be adapted to fit the space
available. For example, since Scene 19
may be staged in a hallway, it might be
impractical to get a full medium shot,
and in that case the camera might be
placed a little nearer in a compromise
between a medium shot and a closeup.
Th
e clinic
[Continued from page 425]
emergency bulletin had to be prepared.
By the time this appears, the burning
question — is it to be cloudy or is it not?
— will have been settled once for all.
B We hope that eight millimeter users
will not consider Clinic in any sense
exclusively 16mm. We are happy to wel-
come to our discussions the users of
this film width, which has so much of
excellence to recommend it. Most of the
problems of motion photography are
the same in any width, but he who is
enabled to use a 13mm. lens consist-
ently need have no trouble with focus-
ing. What a boon is thus conferred upon
eight millimeter cameramen!
Kenneth V. Bloomer, ACL, uses
a power company extension
ladder as a camera crane
Stunt of the month ■ It is often
desirable to
make films depicting some scenes or
action enveloped in a dense fog. To wait
for the weather to produce this condi-
tion is frequently impractical. H. E.
Richardson, ACL, states that he has
produced an excellent imitation of fog
MOVIE MAKERS
445
scenes on bright, sunny days by placing
a thin piece of white cotton gauze di-
rectly in front of the lens of the camera.
This will cut down the light to a certain
extent and require a larger diaphragm
opening but, with a little practice, will
yield most satisfactory results. Black
gauze may also be used but will not give
quite so pronounced an effect of dif-
fusion as does the white.
Mount and camera
[Continued from page 426]
even under favorable conditions but. if
there is opportunity for advance prepa-
ration, they can be made. In a picture
we recently made of the Dalmatian,
sometimes termed "coach dog," it was
necessary to secure a sequence of the
dogs trotting under the coach, right be-
hind the hoofs of the horses. After an
unsuccessful attempt at utilizing a pony
cart as a camera truck, the camera was
secured to the left hand running board
of a truck by the use of a tripod screw
working freely in a hole drilled in the
metal running board. A remote control
was placed on the camera and con-
nected to a telegraph key, the latter be-
ing placed within easy reach of the
driver. When the set up was completed,
a deserted paved road was chosen and
we went to work. The coach was driven
on the left hand side of the road, the
truck, in second gear, being used as a
moving tripod. The camera was aimed
roughly by speeding up or slowing
down the automobile. When it was
judged that a good picture would be
taken, the speed of the truck was ap-
proximately synchronized with the
speed of the coach and the telegraph
key was depressed. The results were
very satisfactory.
Although the true fox hunt is the best
of action subjects, it is difficult to photo-
graph because of the pardonable un-
certainty in the mind of the fox as to
just what route he will follow. It should
only be attempted by a member of the
hunt club who can carry a pocket mo-
tion picture camera with him while
following the hounds. A drag hunt, how-
ever, provides all the excitement of the
real article and is easy to work with. It
will require photographing two or three
hunts to make up a complete picture
unless several cameras may be used on
one particular hunt. In the latter case,
one cameraman will remain at the start
of the trail to record the opening se-
quence, another will post himself at the
end of the trail to take the "kill" and
the remaining cameras, preferably
equipped with telephoto lenses so as not
to interfere with the hunt, will be sta-
tioned at points along the trail.
The finished picture should be so
edited as to begin with the huntsmen
and whips leaving the kennels with the
hounds and proceeding to the place of
Check these new features . . . many
improvements . . . found only in the
RHAMSTINE* lower priced Editor
Actual screen motion . . . this one fea-
ture of the Rhamstine;:' film editor
enables you to improve your editing to
a remarkable degree . . . because of the
ease and speed with which you can see
the picture in the final form it will take
upon the screen. You need no mechani-
cal or technical knowledge to use the
Rhamstine* editor. It practically loads
itself. It plugs in anywhere and the
light of the
covered bulb is
concentrated
on the film,
creating a
vivid picture
with excep-
tionally clear
detail. The pic-
ture is magni-
fied several
times so that
you operate in
an easy, com-
fortable, natural position. The reverse
winder makes it easy to check back and
reload the top reel. Splicing has been
simplified on the Rhamstine::\
■factual motion as on screen
"^■easier viewing with magni-
fied picture
-ylr continuous running film . . .
no claw action
-^ no loops . . . simplified load-
ing
■^•easier, better splicing
a "^reverse action
■^compact, with solid, steady
base
■^portable . . . viewing lamp
plugs in anywhere
"3^3-tone, dull silver, chromium
trim and black crackle finish
All work in connection
with editing is confined
to the actual operating
table, upon which the
splicer is built in. The
sturdy base is rubber
ABOVE — splicing is easy now — no complicated
parts. Highly efficient pressure clamp. LEFT —
a clear picture viewed in a comfortable position.
cushioned which permits its use any-
where without danger to furniture
surfaces. A swinging holder is pro-
vided for standard cement and water
bottles, handily located below the
operating table. The operating table
is finished in dull silver with chromium
trim. The base, spindle arms, bottle
holder, etc., have a black crackle finish.
The Rhamstine* film editor comes
complete including viewing tube and
scraper, light bulb and cord, at a new
low price for a quality unit of only
$3 5. See it at your dealer's.
J. THOS. RHAMSTINE*
Manufacturer of ELECTROPHOT photoelectric Exposure Meter
501 EAST WOODBRIDGE STREET, DETROIT, MICHIGAN
446
OCTOBER 1932
FREE
MAIN HAND-LETTERED
TITLE ASSEMBLY
With every reel (any size) sent in for
editing at $10, Ralph R. Eno will in-
clude a set of high-arade, hand-let-
tered titles double exposed over scenic
backgrounds and complete with
'fades" and dissolves. Include copy for
titles desired with each order.
NEW 25c TITLE SERVICE
A supplementary service for movie amateurs whose
requirements indicate titling moderate in price, yet
typically Eno in quality.
SEND $1.00 AND COPY FOR 4 TITLES.
3c per additional word over 8.
EALE>H 13. CNC
America's Pioneer (16mm.) Art Title
Builder and Film Editor, Charter
Member ACL
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
LIGHT! ACTION! CAMERA!
Brilliant, super-actinic, economical
illumination is assured by the use of
the new
NORTHEAST TWIN
A practical and highly efficient unit
designed for Indoor Movies at
Home. One lamp in the reflector
provided with this equipment equals
three lamps in home lighting fix-
tures, affording the user increased
illumination with decreased operat-
ing cost.
The Northeast Twin is supplied with
two Photoflood bulbs, tripod, 12" re-
flector and 14 ft. extension cord with
three wav junction block.
COMPLETE $6.00
At All Dealers
NORTHEASTPRODUCTSCO.
TEWKSBURY MASSACHUSETTS
meet (the starting point of the drag).
This is followed by the hounds being
laid on the trail, shots of the pack in
full cry, the hunters leaping obstacles
and other exciting incidents. The pic-
ture will end at the "kill." In a drag
hunt, there being no fox, the "kill" con-
sists of tossing a piece of meat to the
hounds at the end of the trail. Whether
a whole hunt is filmed or not, this would
make a splendid action sequence for a
reel of horses and dogs.
Emphasis with light
[Continued from page 427]
in a little considered maneuvering of
the camera viewpoint; sometimes just
a little shift of a foot or so to the left
or to the right will alter the nature of
the background with respect to the sub-
ject completely. The whole secret is
to secure a background which will offer
a contrast to the subject. And if the
subject is to be back lighted, with a
halo of brilliant light surrounding it,
of course a dark background will set
this off all the better. As with most
good things, back lighting can be over-
done. A film story with all scenes shot
against the sun would be monotonous.
There are many scenes which can only
be made to tell their story when normal-
ly lighted. But there is no denying
the fact that a reasonable percentage
of back lighted scenes will add much to
the interest of your films.
The writer has had unusual oppor-
tunity for studying the reaction of small
groups to carefully made amateur films.
It is his experience that a high percent-
age of the scenes which receive favor-
able comment are back lighted shots.
This leads to the conclusion that there
is an appeal in this type of photography
which is more than a personal liking.
Most of us will agree that high noon
is not the most favorable time for pho-
tography; nevertheless, brilliant back
and top lighted views may be made
at this time provided the lens of the
camera is kept well shielded. In mak-
ing such shots in city streets and sim-
ilar places, it will usually be found con-
venient to seek the protection of some
sheltering doorway. If the cameraman
will retire far enough back in this, he
will find that the doorway itself makes
an admirable lens shield. The subject
may remain in the sun which shines on
it from the top and, in these latitudes,
at a small angle. The sun's rays should
shine on the far side of the subject.
The study of the West Point bugler,
used to illustrate this article, shows ex-
cellent use of light and careful arrange-
ment. Note the manner in which the
white trousers stand away from the dark
background while the dark coat is
thrown up against the sky. This was
not achieved by accident.
Beach scenes are often flat and unin-
teresting. With the tremendous, unob-
structed light from the sun reflected
from sand and water, shadows are hard
to find. Yet if the lens is well shielded
as before and if a small diaphragm is
used with the sun striking the figures on
the side away from the camera, some
very interesting effects can be secured
that will be almost silhouettes.
With fast film and lenses of large
aperture, the quantity of available light
seldom causes a problem in outdoor
photography. Usually there is more
than we need. This fact affords us an
opportunity to give a little more careful
study to the manner in which this light
is to be utilized.
The movie maker who intelligently
uses the sun as his "spotlight" will get
far more dramatic quality into his films
thaji those who habitually turn their
backs to this possibility.
Where we live
[Continued from page 428]
dawn to dusk, from getting up to going
to bed, one can picture the community
with as much or as little detail as is
desired. Opening slowly and with ab-
stract symbols, one might build up the
first sequence, to be called Awakening,
a drowsy street under early morning
light, the mist still in the air; a closeup
of the plodding feet of the milkman's
horse; a quiet scene of a house framed
in the trees, the bedroom windows still
open; the feet of the horse halt and a
man steps down, carrying milk; a close-
up of two bottles of milk being placed
on a doorstep; another angle of an open
window, nearer, as it closes; the horse's
feet move on, out of the scene; into the
scene along the sidewalk come a man's
feet; a closeup of a flung newspaper
landing by the milk bottles; behind
them a door opens and a hand picks up
the paper and bottles; slowly the cam-
era tilts up to disclose the master (or
mistress) of the house surveying the
start of a new day.
A second sequence, Prepare for Ac-
tion, will carry the film on from the first
of the reawakened activities of an aris-
ing family through breakfast. It may
be built up both with abstract and per-
sonalized scenes: alarm clocks, steam-
ing hot water for the morning's shave,
a child brushing his teeth, hands squeez-
ing out orange juice, coffee bubbling on
the range, the family breakfast table.
Countless significant details suggest
themselves. Divided into three parts,
the next sequence might be titled Forth
to Battle. In it we see Father getting
off to the job, with all of the incidental
and significant detail connected with
his activities.
Once more the title, Forth to Battle,
and we see the children depart from
home and follow their adventures to the
MOVIE MAKERS
school door. A third flash of the title,
and we follow Mother as she embarks
on her daily activities, doing her order-
ing, perhaps marketing directly at the
fruit store and the butcher shop, chatting
with friends, etc. In the same vein, a
final sequence, Home and Haven, brings
the family back from their several ac-
tivities in the many parts of town, back
to relaxation at the country club, to
play in the park, a jaunt to the movies
or a friendly bridge game at home.
Thus, in following one family through-
out the day and in using as many ab-
stract and general scenes as possible,
one can reconstruct a living picture of
the community in which he lives.
Special purpose city films present
each its own problem. A Chamber of
Commerce picture, to be used as gen-
eral propaganda, calls for one treat-
ment, while a more specialized film
(studying the city's park system, let us
say) will call for another. In every
case, the ultimate use and purpose of
the film should be the determining fac-
tor and should be kept clearly and
singly in mind during planning, pro-
duction and editing.
A-hunting we will go
[Continued from page 430]
essary to establish the story. It is often
possible to step right out of one's front
door, fire a gun and let the dog bring in
the game but that does not make a pic-
ture. The next phase is to follow sev-
eral scenes of expectation, slow move-
ments, tense listening, waving grass,
with hunter and dog together or sep-
arately, then a definite scent. The dog
points. The game starts from cover.
The hunter partly raises his gun and
decides not to fire. (If this is well mo-
tivated, as by the excessive nearness of
the game, this first failure will make
more real the shooting that is to follow ;
a slight disappointment builds up sus-
pense and enhances attention.)
Then the usual scenes, pointing,
shooting, retrieving, petting the dog,
lifting him up into the blind or boat,
avoiding closeups of wounded game. Re-
peat not less than three times so long
as the background, the angle and the
lighting can be effectively varied — from
the ground, from a height, from a tree,
from behind branches, slow motion or
any other way. A hunt has to contain
repetition but it should be so disguised
that the spectator is not conscious of it.
Plenty of varied footage will facilitate
the editing job.
Something decidedly unusual should
also be included somehow — a difficult
bit of retrieving, perhaps. After that,
one may call it a day — a setting sun, the
weary return homeward, a fade in on
a long shot in camp quickly followed by
a huge closeup of the quail or grouse on
447
SPECTACULAR
OFFER
A NEW GUARANTEED
VICTOR
MODEL 3G PROJECTOR
(DISCONTINUED MODEL)
LIST
187.50
t$Ql75lHALF
». 223 Z price!
WITH CASE
This is a fully accredited product of the famous Victor
Animatograph Corporation. Every projector new. Has
all Victor features, including automatic clutch and 250
watt, 20 volt lamp. 300-400 watt lamps may also be
used.
ONLY 94 AVAILABLE-SUBJECT TO PRIOR SALE
HERBERT & HUESGEN CO.
18 East 42nd Street
New York, N. Y.
448
OCTOBER 1932
Purchase of a
FILMO70D
World's finest 16mm. Motion
Picture Camera. 7 speeds.
Turret head for 3 lenses. Pre-
cision built. Priced upwards
from $245.00.
This offer, for a
limited time. Pro-
portionate allow-
ances on other
cameras.
LET'S SWAP! Or send for
new catalog and Bass Bar-
gaingram No. 209.
BASS
CAMERA COMPANY
179 W. Madison St. Chicago
Camera Headquarters for Tourists
I
USEFUL
ACCESSORIES
GOERZ VARIABLE FIELD
VIEW FINDER
Matches the field of view of any
lens you may wish to use from 1"
to 4". Simp e of operation. Great
improvement upon other finders in
that the Goerz finder has one large
fixed area aperture into which the
various angular views are projected
by means of a special lens com-
bination.
GOERZ EFFECT AND TITLE
DEVICE
The Goerz complete Effect and
Titling device embodies all the fin-
est mechanical aids for every con-
ceivable effect. This instrument,
whose varied merits are constantly
attested to by numerous cinematic
groups and clubs, will beautify
your reels, simplify your work and
prove, in the long run, an econom-
ical and desirable asset.
"Goerz Specialties for I6mm. Ama-
teur Movie Cameras," a 12-page book-
let, will be sent on request.lt describes
the various Goerz cinematic accessories
with complete details. Illustrations,
uses and prices.
C. P. Goerz American Optical Co.
317 East 34th Street
New York
skewers, between bits of bacon, cooking
over an open fire or a corresponding
scene for other kinds of game — a big
enough closeup to make the spectator's
mouth water, perhaps two feet away.
Last is a brief eating sequence followed
by a slow one of cleaning the guns be-
fore the campfire and ending with a
very long shot and slow fade to signal
the end of an intensely happy day.
The mirror of burl
[Continued from page 429]
esque
the part in appearance. It never pays
to make film tests of their acting abil-
ity for a part because the chances are
that no one of them is more talented
than another, but are about equal in
natural acting instinct. Choosing takes
considerable tact as everyone wants to
be the hero, "the good guy," even
though some other part may offer more
opportunities and attract more atten-
tion from the audience. Each one is also
extremely jealous of the importance
and size of the other parts. A child
doesn't hesitate to express his feelings
about such matters. I have found that
boys and girls under twelve do not mix
very well. The presence of the other sex
restrains them considerably, especially
if there are any romantic scenes. In
general, it is best to have all boys or all
girls, but it depends on the circum-
stances. A sister or a brother of the lead-
ing actor sometimes is accepted.
A schedule must first be carefully
arranged, and the action for each day
mapped out, to avoid delays. If the pic-
ture is to be made in the winter, Satur-
day and Sunday afternoons are about
the only convenient times but, during
the summer vacation, any time will do.
The director must plan every bit of
business beforehand; he must know
exactly what is going to be done. The
actors become restless with delays.
Don't order them to portray a certain
emotion and expect results unless you
give them definite things to do. One
can't expect them to invent things from
their more narrow experience, but they
can easily mimic you.
Above all don't patronize them, talk
down to them or call them "children"
(a hateful word to them). If you are
one of them, they will be perfectly at
ease and you will get better results.
You must expect to photograph only a
little at a time because children natu-
rally become impatient if they do any
one thing too long in one place. Rest
periods will help when you can break
the tension with something to look at,
as a stamp collection if there are any
philatelists in the group. Expect plenty
of fooling and fights, but it is best to
be patient and just wait until they calm
down. The more difficult scenes should
be done with as few around watching,
as possible, in order to get the best re-
sults. Save the hard parts of the prin-
cipals for the end of the day after the
"extras" have been dismissed.
It is sometimes difficult to keep up
the interest in an amateur film, which
is necessarily stretched over a long
period, due to the fact that non profes-
sionals cannot work every day and all
day until a picture is completed. And
with young people, one day a certain
thing is the greatest, most absorbing
thing in life; they give to it the en-
thusiasm that only youth can command,
and then the next day — flooey! — it's
something else. So hold out some bait.
Perhaps there are some exterior scenes
which will mean an all day picnic trip
or, if it is a cowboy picture, save the
horse riding scenes for the last day.
Remember that, even if the picture is
to be a burlesque, all the principles of
good film making still hold true. It is
possible to have good compositions,
lighting effects, a good continuity and
careful editing. Artistic effects are not
out of place. Satire and burlesque have
always been the stepchild element of
Hollywood screen literature. It is a
known fact that, with the exception of
a few short subjects, whenever the pro-
ducers have tried satire on a large
scale, they have nearly always missed
the mark and the result has been merely
an inferior grade of comedy. The
French, alone, under the leadership of
Rene Clair recently have had success
in this field. So the amateur should not
feel that he is dealing in a lowly form
of art in which it is fruitless to exert
himself fully. It is a field in which he
can outdo the professional.
Filming with the Founder
[Continued from page 433]
there is a hint in that statement.
However, I happen to be one of those
amateurs who are hardly more than op-
portunists, and as such I encountered
another phase of movie making that was
most interesting; that is the convincing
performance obtainable from inexperi-
enced extras. Extras for The Life Of
George Washington included regular
army men for the military shots and
real backwoodsmen and Indians from a
reservation for the frontier scenes. They
were wholly without experience in act-
ing and its traditions, yet after having
a situation explained to them they in-
variably turned in a performance, even
in individual action and closeup shots,
that for simple, dramatic effectiveness
was really surprising.
And speaking of pains, there are
other kinds of pains that the opportunist
amateur can learn about from the pro-
fessionals. For instance, there are the
pains of having to stick to a script and
not being able to take advantage of
MOVIE MAKERS
what to him would be "lucky breaks."
On one occasion young George Wash-
ington had to be shown riding horse-
back along a forest trail and the horse
didn't like the idea. Time after time
he balked, reared and performed vari-
ous other acrobatics that displeased Mr.
Ferguson as well as the exasperated di-
rector. But finally he was brought un-
der what seemed to be control and the
"take" of him walking toward and past
the camera looked as if it would
be good. Then — woof! Just as the
fractious dobbin got in front of the
camera he changed his mind, turned
suddenly and made off down the trail
until he and Mr. Ferguson's red cape
finally disappeared among the trees.
But a second later the wide eyed Mr.
Ferguson and the wide eyed Mr. Horse
reappeared, charging up the trail to-
ward the $5,000 worth of machinery
that was the camera. Then Mr. Fer-
guson and Mr. Horse bade each other
a very informal adieu. Mr. Horse tore
off into the forest ; Mr. Ferguson estab-
lished a most solid contact with terra
firma. There, said I, the opportunist
amateur, tvas a picture. That shot
would humanize old "G. W."; certainly
he could not have ridden all his life
without ever falling off a horse. To fol-
low that shot with one of Mr. Ferguson
having conquered the animal — well, I
thought that would have been good stuff.
Preposterous! The script didn't call
for it! In any picture of the Father
of his Country and a horse in which
there was throwing to be done, George
would have to throw the horse. So
then and there I concluded that it's
primarily because I am simply an op-
portunist that I enjoy photography.
A Hallowe'en camera
[Continued from page 434]
then drop it into the pan while I was
turned upside down to shoot it. When
the reel was returned from the process-
ing station, this scene was cut out and
reversed, end for end. If a large gold-
fish bowl had been available, we would
have made some under water shots —
next year we'll have one and try this.
The next familiar amusement was
"Pinning The Tail On The Donkey,"
filmed entirely at half speed. Of
course, when the half speed was used,
the stop was closed one point so that
these scenes were not overtimed. The
dashing about which resulted when the
film was projected added quite a little
to the hectic gaiety in the completed
reel. Then came fortune telling and we
took closeups of the hands dealing the
cards followed by a shot of the dealer.
Then we had several of the more
gifted guests compete for a prize offered
for the best face — the idea being to
register as much grotesqueness and hor-
449
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4;TESSARF2.ZandF3;5,TELE-TESSAR F6.3
■ FINDERS ■ FILTERS • SUN SHADES ■
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., NewYork. 728 South Hill St., Los Angeles
fMCK£ryj*0U5£
AND
SILLY SYMPHONY
16mm. CARTOONS
by
EXCLUSIVE
ARRANGEMENT WITH
WALT DISNEY
$3.50 per 100 feet
WRITE
For complete catalogue of
over six hundred Cine Art
Home Movies.
HOLLYWOOD FILM
ENTERPRISES, INC.
6060 Sunset Blvd.
Hollywood, California
450
OCTOBER 1932
We will make sample title "Photography by
(your name)" for 25c.
Or purchase from us a Simplex Fading Glass,
Price $2.00 and receive 2 free titles, 8 words
or less each. Also special offers on Reel
Packs, Rhamstine* Electrophots and Film
Editors and Craig Splicers. Write for details.
We do 16mm. developing and printing
Member ACL
J. C. HAILE & SONS
Motion Picture Dept.
215 Walnut St. Cincinnati, Ohio
8MM— LOOK— 8 MM
Reels and Humidors for Kodascope
Eight. List price one dozen $12.00.
Your price, cash with order, $6.00
in standard packages of 12.
One standard package of 12-400 ft.
16mm. self-threading reels and humi-
dors, regular price $18.00, cash with
order, $9.00. Why not save 50% by
dealing with the factory and also get
our catalog on other 16mm. equip-
ment. Remember these are new
goods. You to pay the same price as
the dealers have paid us.
A. C. Hayden Company
Brockton, Mass., U. S. A.
HUNTING
AT NIGHT
— With a Camera
Exquisite effects are obtained by hunters
and campers in the autumnal woods — at
night — with "Newmanlite" Flares . . . the
favorite illuminant of explorers and nat-
uralists the world over. If you desire to
impart a witching and romantic beauty to
your film, ask for
NEWMANLITE FLARES
Booklet and prices on request. /^A
I. C. NEWMAN CO., INC/
New Yorli
ror as possible. It was funny when be-
ing done in reality but, when the film
was screened, it was ludicrous. To make
the weirdest possible effect, the faces
were illuminated by means of a light
placed on the floor.
An innovation was a witch act in
which one of the family, made up as
an old crone, played the leading role.
The lights were kept rather low to em-
phasize the characterization. We had
her riding a broomstick in front of the
black background and the effect was so
good that we used the sequence for our
title backgrounds. Enlargements were
made from the film and the lettering
was done on these. Then the title was
rephotographed in the title maker.
As a final scene, we had a Jack
o' lantern made of a huge pumpkin and
cut in half. I sat behind the Jack and
shot through the face openings. The
scene was the entire group of guests
raising their glasses to drink a toast.
We faded out as the toast was drunk.
We didn't try to put in any titles un-
til the film had been edited, arranged in
the proper sequence and shown to all
the guests who had taken part. They
were pressed to comment audibly
throughout the showing. Careful note
was taken of all the remarks and jokes
made, and they formed the basis for a
series of titles which proved to be one
of the big features of the production.
Now, only the main title and con-
cluding title were to be made. For the
first, we shot a pumpkin with somewhat
less than normal exposure and, with the
help of the backwind, the title wording
was shot on top of the exposure of the
pumpkin. The same procedure was fol-
lowed for making the end shot; only
this time we used a big stuffed owl for
the first exposure, winding the film not
quite back to the beginning of this foot-
age so that The End would flash on after
the owl appeared.
Well, you can understand now why a
cine camera can be proud of its help in
making such a reel. And it wasn't very
difficult to do, either; ordinary standard
equipment was used and the photo-
floods in the reflectors gave me plenty
of light to work with, even with my 3.5
lens. Everything else was merely the
result of the boss's using a bit of
thought ahead of time. Considering its
success, I can say that planning is cer-
tainly worth while.
To fit every background
[Continued from page 436]
and the center of the lens must be six
inches above the base "A". Since vari-
ous sizes of cameras will be employed,
the height of the block "Y" will vary
with the camera used but this height
must always be such that the lens cen-
ter is exactly six inches vertically above
the base "A". See diagram of camera
mount. The block "Y" is of the proper
length to fit the camera and three inches
wide to fit the base "A". On the top
of the block "Y" is placed a piece of
sheet brass, or aluminum, bent into a
trough shaped channel to fit the base
of the camera. It should fit tightly to
prevent the camera from moving when
in place. This is fastened to the block
"Y" in such a manner that the camera,
when placed in it, will point directly at
the center of the title board. Two holes
are drilled through the metal trough,
block and base. Flat head, countersunk
bolts are used to fasten the block and
metal trough to the base "A". The cam-
era is then placed in the trough with its
lens thirty six inches from the title
board. The position of the tripod socket
is noted and marked on the side of the
metal trough. The camera is removed
and a hole large enough to take a bolt
fitting the tripod socket is drilled
Details of construction
show how universal title
maker parts 3re assembled
MOVIE MAKERS
451
A special adaptation may
be made for certain cameras
through the entire assembly to the bot-
tom of the base. This hole should be
counterbored at the lower end so that
the bolt will not interfere with placing
on a flat surface.
If the surface of the title board is
marked with center lines, as shown at
"X", it will be found very convenient
to "place" any size title. An interesting
adaptation of the camera mount is that
for the Cine-Kodak Model A. This cam-
era has a ribbed base and, in order to
fit properly on a block, it is desirable
to have a metal plate with channels cut
in it to fit the ridges on the bottom of
the camera. These channels may be cut
with hack saw and file or, better still,
done at a machine shop by a milling
machine. This plate is then mounted at
the correct height on a block of wood,
a hole for the tripod bolt being drilled
the same as for the other type of mount.
Adaptations to the user's ideas will
doubtless suggest themselves but the
principles will remain the same. A table
of exposures for the various distances
may be compiled and will prove useful
in getting consistent results. The little
time consumed in making this outfit will
be well worth the results obtained.
Amateur clubs
[Continued from page 435]
was inaugurated at a recent meeting
with the screening of Treasure Won
from the League's Club Library, in
preparation for a feature length produc-
tion this winter.
See Eights ■ Eight millimeter mov-
ies were demonstrated
by Harold Hock, ACL, at a late meet-
ing of the Berkeley Amateur Motion
Picture Club, in California. Among the
Unusual Offer I
F
FOR A LIMITED
TIME ONLY
VICTOR
CINE CAMERA Model 3 #'
with
1" //3.5 DALLMEYER
LENS IN FOCUSING
MOUNT
$69
so
There is still a 50% Reduction on these
Dallmeyer Lenses
IF YOU ACT IN TIME!
1" //1.9 Dallmeyer, List 50.00 )
V/i" //1.5 Dallmeyer, List 85.00 '
6" //4.5 Dallmeyer, List 90.00 /
6" //3.5 Dallmeyer, List 125.00 )
SUBJECT TO PRIOR SALE
HERBERT & HUESGEN CO.
AT
HALF
PRICE!
18 East 42d Street
New York City
Tfou com cLp&ttd cm the
N€W W€STON
€XPOSUR€ M€T€R
Scientifically designed, the
Weston Universal Exposure
Meter gives positive, accurate
results. Every shot is correctly
exposed — no waste of film, time
or money. It reduces settings
of shutter timing and aper-
ture to scientific accuracy.
No guesswork, the Weston Uni-
versal Exposure Meter meas-
ures the brightness reflected
from the subject or scene;
translates it into the correct
combination of /. stop and
shutter timing for any film or plate speed
for both still and movie cameras.
No batteries. No adjustments. Always
ready for use — independent of climate,
weather or temperature. Not damaged
by direct sunlight. These are a few of
the features which the combined effort
of the Engineers of the Weston Labo-
$
39.75
Complete with hand-
some leather case and
shoulder strap — in the
United States
ratories and leading film manufac-
turers have built into the new
Weston Universal Exposure Meter.
ELECTRICAL INSTRUMENT CORP.
626 FRELINGHUYSEN AVE. • NEWARK. N. J.
452
OCTOBER 1932
BEACON Jr.
REFLECTOR
for
Phoroflood
and
Photoflash,
makes
INDOOR MOVIES
and Stills
The Beacon Jr. Stand Reflector is designed for
Photoflood and Photoflash Lamps . . . each
unit a portable handlamp with push-thru socket,
cord and handle . . . ball-joint head permits
individual angle adjustment. Cross-bar unit
supports from one to lour reflector units, pro-
viding greater light concentration. Nickeled
tripod stand is adjustable . . . rigid at any
height from 3 to 7 feet . . . folds to 23 inches.
Delivery-free Prices
Beacon Jr., Reflector No. 1, with Handle
Cord and Stand $3.00
Beacon Jr. Double Reflector with Handles,
Cords, Cross-bar and Stand $4.95
Extra Reflector Units, with Handle and
Cord $1.25
Satisfaction Or Your Money Back!
KLEIN b GOODMAN
18 SOUTH 10TH STREET
PHILADELPHIA, PA.
TALKIES
AT HOME
$13.50
Another limited lot of these well-known
Home Talkie units, originally priced at $49,
is now being offered at $13.50. Can be at-
tached to any 16mm. projector. Will ship
on receipt of 20% deposit; balance, C.O.D.
Dealers : Write for interesting proposition.
FARRELL & BUCKMAN
364 Canal St. New York
An illustrated pamphlet describing numerous
16mm. subjects of the TRAVELETTE series
is now ready for distribution.
7901 Santa G U Y D. H ASELTON
Monica Blvd.
Hollywood
Calif.
A
R
T
T
I
T
L
E
S
VAOOTON DAYS
DI^TINPTIVF printed and hand lettered.
wijiii^iivl Original backgrounds 25c upward.
I'reo samples. Production of lfimm. industrial, dental and
travel films. Correspondence invited. Member of ACL.
W. STUART BUSSEY
814 N. Meridian St. Lincoln 1207 Indianapolis. Ind.
members' films screened were an 800
foot Kodacolor record of the Grand
Canyon and Bryce Canyon, by W. B.
Smith, and a 300 foot Kodacolor study
of the Salinas rodeo, by Frank R. Bur-
ton, ACL. All members of the Berkeley
group are joining the Amateur Cinema
League.
Camp film ■ Under the direction of
Frank M. Seiffert, jr.,
ACL, members of the Amateur Cinema
Club of the Oranges have been busy
filming the life and activities at Camp
Lenoloc, summer camp of the Orange
Y. W. C. A., at Arden, N. Y. This is a
fine example of that kind of coopera-
tion which is invaluable in establishing
any local movie club as a recognized
and appreciated part of the community.
Cooperation ■ At Larchmont, N. Y;,
the Cinema Club will
present this month two comedies and a
news reel made of and in cooperation
with the Women's Club of the city. The
feature length production will represent
the disastrous effects resulting, as the
good ladies of the club decide to do
their bit in relief of the depression by
a determined day of buying at the local
shops.
African film ■ Films made by Rus-
sell Hunter, of
Chillicothe, 111., on a trip by motor from
Capetown to the northern coast of
Africa, replete with unusual scenes of
native and animal life, were outstand-
ing at a late meeting of the Peoria
Movie Club, according to secretary
S. D. Roake. ACL. Two Minutes To
Play, from the League's Club Library,
was the projection feature at another
meeting of this active club which now
numbers thirteen members.
Hear lectures ■ Recent meetings
of the Los Angeles
Amateur Cine Club have featured a dis-
cussion of filters and their uses by Wil-
liam Stull, associate editor of The
American Cinematographer, and a dis-
cussion and demonstration of the pho-
tography of miniatures by Don Jahraus,
head of the miniature department of the
RKO studios. Special study films were
presented with each lecture. A Multi-
color travelog of Norway and Sweden,
filmed by John W. Boyle, outstanding
entries in the club's Uncut Film contest
and members' films, made in the Fox
studios at an earlier gathering, have
been screened at late meetings.
In Germany ■ The Bund der Film
Amateure, ACL,
whose headquarters are in Berlin, is
the only national association in Ger-
many for those interested in amateur
movies. The Bund celebrated its fifth
birthday during the month of June. Be-
sides the group in Berlin, the associa-
tion has branches in Frankfurt a. Main,
Munich, Leipzig, Hamburg, Karlsruhe,
Cologne and Manheim. Recently the
Bund has presented a number of well
attended evening programs as well as
a matinee in Karlsruhe that boasted an
attendance of 500 persons. At present,
the important jubilee contest of the
Bund is in progress, the theme of the
competition being The News Reel.
Childs groups / Would Be Be-
lighted], an amus-
ingly sophisticated comedy told entire-
ly in closeups, has been completed in
New York City by a group working
under the direction of S. Winston
Childs, Jr., ACL. Particularly striking
scenes were noted in a sequence show-
ing the preparation of an elaborate din-
ner, where effective lighting enhanced
the intended glamour.
Recent accessions ■ In Two Min-
utes To Play,
800 ft., 16 mm,, the Club Library of the
League has received a well planned,
smoothly produced and neatly edited
photoplay which, though turning on the
customary football story denouement,
rises far above mediocrity by virtue of
its excellent treatment. The film, no-
ticed in more detail in past issues of
Movie Makers, is the first production
of the Greenbrier Amateur Movie Club
and one of which they may well be
proud. The League is sincerely pleased
to have it in the Club Library.
Two hobbies ■ To round out the
activities of their
non filming members, The Satellites, a
production group in Brooklyn, N. Y.,
have combined simple play producing
with film story making. Sylvia Mar-
tinique, chairman, Belle Sarney, Rue-
ben Ablawitz, George Felsher and
Samuel S. Mines comprise the dra-
matic committee.
Rushes ■ A demonstration of Koda-
color, a club outing to
the exhibition in Amsterdam, Sound
and Sight, and a screening of unusual-
ly beautiful travel films of the Dutch
East Indies have distinguished recent
fortnightly meetings of the Hague Ama-
teur Film Club. ■ Club outings have
been popular this summer, according
to the reports of Milton Feinberg, sec-
retary of the Cine Still Club of Phila-
delphia, and of Ruby Wescott, ACL,
secretary of the Maine Amateur Cinema
League. Several members of the Port-
land club banded together in their film-
ing of the recent eclipse, a phenomenon
which approached totality in their sec-
tion of the country. ■ In Winnipeg,
Canada, the Triangle Movie Makers
have organized under the guidance of
Charles C. Dunbar and have already
MOVIE MAKERS
completed a short comedy entitled
Burglar's Paradise. This film and Fly
Low Jack, from the League's Club Li-
brary, were projected at the first public
meeting of this new club. ■ Members
of the Chicago Cinema Club have been
gathering in a series of meetings in out-
lying communities for the purpose of ac-
quainting suburban movie makers with
their activities. Members' films are
screened following a dinner meeting.
■ Studying the work of other groups,
the Berkeley Amateur Movie Club, in
California, has projected Wild Rice
and The Fall Of The House Of Usher
from the Club Library of the League.
■ In Massachusetts, the Springfield
Cinema Club is working on a film of
the city, known as Interesting Things
To See In Springfield, which will be
used in unofficial publicity screenings.
British amateurs
453
Ingenious ■
To obtain needed
scenes of a German
submarine on patrol during the World
"War, Montagu Pictures at Newcastle
built a U-boat model out of wood in a
nearby field, carted it to the seaside
and then waited for the rising tide to
launch it. The model was used in film-
ing the climactic sequences of North
Sea, the current production of this unit
under the leadership of A. G. Greaves,
ACL. The story, which was written by
Stephen Arthur, is being directed and
photographed by Mr. Greaves and will
feature in leading parts Althea Laws,
Douglas Sneddon and F. W. Wear-
mouth. Unusual publicity has been
given the film in the local press.
Teddington ■ Granted special per-
mission by P. G.
Wodehouse, Teddington Amateur Film
Productions is filming the Wodehouse
novel, Something Fresh, in a motion pic-
ture adaptation to be known as The Lost
Scarab. Marcus C. Hunter scenarized
and will direct the story; V. Isani is art
director; and Edward M. Hunter is in
charge of photography. A second pro-
duction unit is busy with Calling His
Bluff, an original story written and sce-
narized by Leslie Woodward. Mr.
Woodward will assist D. Gordon Bowe
with the direction and Jim Beard will
be at the camera. Although less than a
year old, the Teddington society already
numbers more than forty members.
Publicity film ■ In Edinburgh, Pin
nacle Productions
has completed a one reel 16mm. com-
edy, Getting The Bird, which was writ-
ten and directed by F. W. Adam, ACL,
and photographed by A. J. Harper,
ACL, and J. S. Mardel, ACL. A second
picture, to run two reels and as yet un-
titled, is already in production under
Pathegrams
■ for 1932-1933 ■
68 Reel Silent Library
EXCLUSIVE
to one dealer in each city, except in
New York City.
Those wishing to qualify as Pathe
Library Distributors should make appli-
cation by October 20th.
ALSO 19 reels 16 mm. silent sale
subjects of OUR GANG, CHARLIE
CHASE, SNUB POLLARD, AESOP'S
FABLES and OLIVER HARDY.
16mm.
SOUND WITH DISC
FOR SALE
More than 400 reels
Including,
26 Pathe Features
40 Grantland Rice Sportlights
40 Two reel comedies
48 Aesop's Fables
15 Vagabond Adventures
6 KnuteRockne Football Pictures
Sole distributor United States
FREDERIC L CERKE
Uncovered Wagon"
45 West 45th Street
New York, N. Y.
A Pleasant
Surprise
Awaits You
with the lowest price
100ft., 16-millimeter
camera on the market
with //3.5 Ilex diaphragm lens
$35.00
(with //1.5 lens at $67.50)
100 ft. capacity
Spring motor driven
Film footage register
Audible footage signal
Tripod connection
Light weight
A Proven Success!
KEYSTONE
KEYSTONE MFC CO.
BOSTON. MASS.
454
OCTOBER 1932
16MM.
35MM.
SOUND
CUSTOM BUILT 16MM.
PROFESSIONAL CAMERA
• 4U0 foot magazines
• Pour lens turret, standard lens mounts
• Focus-on-film with lOx microscope
• One turn, one picture crank
• Reverse take-up
• Footage Counter
• Frame Counter
• Silent mechanism
• Connection for synchronizing or
motor drive
$650 without lenses
Equipment built to individual specifications
ERIC M. BERNDT
112 East 73d St.
New York
tions. j
COLOR I
CONGRATULATE US!
For this month marks Luma's
third birthday — Three years
of growing that has kept
pace with the fast-gaining
popularity of 16mm. photog-
raphy . . . during which time
Joe Maggio has enlisted many
enthusiastic converts to this
pleasureful pastime and filled
every need of the discrim-
inating amateur. Early in
featuring the latest develop-
ments in every line of
photography, LumaCam-
era Service feels priv-
ileged to hope for the
patronage of amateur
movie makers for many
birthdays to come.
16mm.
RENTAL
LIBRARY
(Rental
rates as low as 75c per
400 ft.
reel per
week.)
Slightly
used, first quality,
100 ft.
16mm.
subjects
for sale at $2.25.
All 25,
50 and 100 ft. Mickey Mouse and
Slllv Sy
moliony Cartoons in
stock
for im-
mediate
shipment.
Big Catalogue F
ree
Eastin Feature Films, Ga
lesbur
g, Illinois
Consultation Service
in
Cinematographic Technique
CARL LOUIS GREGORY, F.R.P.S.
and associates —
PURCHASING ADVICE
COLOR— SOUND
TRICK WORK— ANIMATION
OPTICS— PRINTING
REVERSAL DEVELOPMENT
PATENT RESEARCH
MEDICAL— MICRO
EDUCATIONAL— INDUSTRIAL
CINE MACHINE DESIGN
REPAIR— ALTERATION
HFormer clients: U. S. Government, Thos. Edison,
Bell &. Howell, Technicolor, Paramount, Fox, Metro,
Pathe and many others.
^Equipped rental studio, experimental laboratory,
machine shop.
'[Approach your problems from an EXPERIENCED
viewpoint — solve them at least expense.
TIPersonal or written consultation for organizations
or individuals.
CARL LOUIS GREGORY
76 Echo Avenue New Rochelle, N. Y.
"Forty-five minutes from Broadway."
the guidance of Miss Heath, with Mr.
Adam and Mr. Harper as technical as-
sistants. The entire society, working in
cooperation with the Edinburgh Film
Guild, also has finished a publicity film
of the city for the Scottish Travel Asso-
ciation, and kindly offers their services
to amateurs or groups in getting any
needed scenes of the community or the
neighboring Borders.
Cantab, film H Power is the title of
the one reel educa-
tional film recently completed by the
Cambridge University Cinema Society,
according to the report of Secretary
Raymond Kittoe. Developed in a gen-
eral rather than a specific manner, the
film presents many unusual scenes
made in the University engineering lab-
oratories and has been synchronized to
both a popular and a scientific discus-
sion of the subject matter.
Glasgow
In Scotland, the Glas-
gow Amateur Cine Club
has been formed recently and has al-
ready held a number of meetings for
the screening of members' films and the
informal discussion of technical prob-
lems, according to the report of secre-
tary Ian S. Ross, ACL. Erik Chisholm
is president of this group. In the same
city a production unit known as the
Scottish Amateur Cinema Circle is
working under the leadership of J.
Tertius A. Dick on a drama, Scotch
Mist; a thriller, The Gas Trap; and a
study film of the local community.
Local records ■ Assize Sunday,
Military Sunday
and the York Military Tattoo have
been recorded on film this summer by
members of the York Amateur Film
Society, according to secretary William
Holden. The group is nearing comple-
tion on The Gypsy Heiress and will
carry on with the production of The
Saltley Treasure, both from original
stories by Mr. Holden.
The picture
on the screen
[Continued from page 431]
is almost as bad as one unoiled. Too
much oil means a grease film on the
lens surfaces, resulting in dim and
fuzzy pictures. Oil splashed on films is
very difficult to remove and causes a
very bad spotting. Good projection
from oil stained films is impossible. Oil
running into the motor will lead to in-
efficient operation, sparking and heat-
ing. When this occurs too often, the mo-
tor armature must be removed and the
commutator turned down in a lathe, a
somewhat expensive and totally un-
necessary operation.
Cleaning and oiling will do wonders
to improve projection but there is even
more to be done. If the projector is new,
it will probably be in good condition
but if it is two or three years old the
lamp position should be checked. Pre-
focus bases are a great help in avoid-
ing the tedious operation of centering
but prefocus sockets have been known
to get out of alignment.
Remove the projection lens, start the
projector and hold a white card about
a foot in front of the machine. The lamp
filaments should be seen projected on
the card. The lamp filaments, them-
selves, are shown bright and clear. Be-
tween the coils of the filaments, there
should be seen less brilliant images,
which are the filament images reflected
by the mirror reflector. If the spaces be-
tween the coils are vacant or if either
top or bottom of the filament coils are
to be seen, the lamp is out of position.
The socket adjustment should be
loosened and the bulb pushed to one
side or the other, or raised or lowered,
until the correct alignment is secured.
A bulb out of alignment may easily cost
from thirty to fifty percent of the light
before the error becomes so serious as
to become obvious.
With the projector in perfect condi-
tion there is one more thing to com-
mand our attention. It would be inter-
esting to know just how many projec-
tors, good projectors, will be used in
this country tonight for screening pic-
tures— upon a sheet or a white wall!
If yours is to be one of these, and if
you are considering the purchase of a
higher powered projector, just try out
a good aluminum or beaded screen.
Recently, in a large experimental
studio, a white, surfaced, perforated
screen was used. As the experimental
work was of such nature that brilliancy
was highly essential, experiments were
made with screens of both aluminum
and beaded surfaces. Although the dif-
ference between the two was slight,
both gave more than one hundred per-
cent increase in brilliancy over the pro-
fessional theatrical screen having a
plain white surface. It takes a great in-
crease in lamp power to effect an in-
crease in screen brilliancy of one hun-
dred percent.
The care and preparation are all
made with a view to projecting a pic-
ture. Brilliance, definition, quality are
all to the credit of the preparation. If
the projector is set in position and
focused before the guests arrive, they
will appreciate the absence of the focus-
ing trials. Only one thing will be lack-
ing to complete their enjoyment. A mu-
sical program from instruments, phono-
graph or radio, properly selected, will
add the final touch which will cause
your guests to regard your motion pic-
ture programs as pure entertainment.
MOVIE MAKERS
455
"Why I film" contest
Have you tried for the fifty dollar
prize with your "Why I Film" letter?
The announcement in September
Movie Makers of the ''Why I Film"
contest has set many typewriters to ac-
tion and the February number of this
magazine will contain the best letter
that has come to us on the subject of
"Why I make amateur movies." Letters
will come from all corners of the world
and the ultimate germ of the movie
making fever will be tracked to its lair.
Movie Makers is happy to announce
as judges for its "Why I film" contest a
jury of three distinguished men and
practicing amateurs. They are:
Hiram Percy Maxim, President of
the Amateur Cinema League.
Walter R. Hine, Vice President of
the J. Walter Thompson Company,
world famous advertising agency.
Lawrence C. Lockley, Ph.D., Pro-
fessor of Merchandising, Temple
University, Philadelphia, and author
of "Principles of Effective Letter
Writing," "Vertical Cooperative Ad-
vertising," etc.
All of these men are familiar with
movie making joys and accomplish-
ments ; they are all writers of distinction
and familiar with the best method of
setting forth ideas. They will be given
no instructions about selecting the
best letter sent in for the fifty dollar
prize and will determine, according to
their own system of judging, the letter
that they choose as the winning one.
The letter that takes the prize may be
dignified or colloquial, philosophical or
humorous, sophisticated or naive. The
jury alone will determine.
Send in your letter early. Here are
the rules governing the contest:
1. Write the best letter to Movie Mak-
ers on "Why I make amateur
movies."
2. Anyone who has done amateur film-
ing may enter the contest. There is
no other limitation.
3. The best letter we receive will win
a cash prize of $50.00. There are no
other prizes.
4. The letter must not be longer than
700 words. It may be written in any
language but, if published in Movie
Makers, it will be translated into
English.
5. The contest opens September 1, 1932,
and closes December 31, 1932. The
prize will be paid after the judges'
decision early in January and the
winner will be announced in Movie
Makers for February, 1933.
6. Letters must be written on a type-
writer, on one side of the page only
and double spaced. They must be
signed with the actual name and ad-
dress of the writer.
Take Fascinating Pictures in Your Home
Every quality you have wanted in your indoor
movies is now possible when you illuminate with
FOTOLITES . . . FOTOLITES are unsurpassed
for compactness, simplicity and light power.
FOTOLITES range in price from $1.25 to $16.
WRITE FOR ILLUSTRATED FOLDER
m
The Stanrite Tripod and Panrite Tilting Top
Professionals and serious amateurs find this new
combination the ideal equipment for steady pictures
at any angle for any camera, Rigid Construction,
Light Weight, Beautiful Finish (mahogany and
chromium).
Stanrite Tripod $12.00 Panrite Tilting Top $9.00
Lockrite, instant on attachment for Panrite
$3.00
Am
BIG
REDUCTIONS
On 9.5MM. Cameras, Projec-
tors and Accessories
List Special
Price Price
Pathe Kid Projector $19.00 $ 9.00
Pathe Projectors 39.00 20.00
Pathe Motocamera with
case 53.00 26.50
Motocamera carrying
case 8.50 4.50
Motor for projector. .. . 15.00 7.50
Super attachment for
projector 18.00 7.50
Lamps, 12 volt 1.25 .95
Lens for Motocamera . . . 6.00 3.00
Title board for Moto-
camera 6.00 3.00
Exhibition films 30ft... .75 .50
60ft... 1.75. 1.00
Also film rental library and film for
cameras. Repair work at lowest prices.
E. M. KRAMER
Room 405
45 West 45th Street New York City
Vacation movies should be
TITLED while the memories
are still fresh in your mind.
Let us help you make your
summer films doubly enjoy-
able with our attractive but
inexpensive KODATITLES.
Write for Circular.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave, New York, N.Y.
456
OCTOBER 1932
KIN-O-LUX /
A
NEW
FILM
AT A LOW PRICE
Including Processing and Scratch
Proofing by the Teitel Method.
Kin-O-Lux is a fine grain, con-
trasty and semi-chromatic re-
versal film affording excellent re-
sults under ordinarily bright
lighting conditions. It is recom-
mended that Kin-O-Lux be used
without filters.
If your dealer cannot supply you
with Kin-O-Lux, send $o f\f\
us his name and J.V/v
KIN-O-LUX, INC.
105 W. 40th ST., NEW YORK
Chicago Office: 806 Wabash Avenue
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBERAMMERGMJ STAGE PLAY-
RELIGIOUS -INSPIRING - EDUCATIONAL
5 REELS ~2000 FT. -16 MM.
(COMPLETE STORy ) Price *I50.00
Buy OR RENT FROM DEALER OR DIRECT FROM
tmm\>ii\rM,*mmm
IliTEI^
WITH ANY CAMERA
- " yniaew Mgsnliqtt mi Ni;M€ffatts m Daytimv-
frjScms- ftKasriTvus and many »IW <ffats.
Ask your dealer, or -write to
GEORGE H.SCHEIBE
ORIGINATOR OF EFFECT FILTERS
T. LOS A
A PASTIME THAT PAYS—
rSTTWT
As a pastime or money making
business, photography never fails.
Learn quickly now in the privacy of
your own home at low cost. Same
practical, understandable training,
given by same expert professional
operators and instructors who handle
personal attendance coaching in our completely
equipped training studios. Only home-study train-
ing offering this advantage. Full or spare time. You
may earn while learning. FREE placement service
when qualified. Send for Booklet.
NEWYORK INSTITUTEOFPHOTOGRAPHY
Dept. 105J 10 West 33rd Street, New York
Film Rentals
Sales — Exchanges
— New Low Rates —
Rentals: 400 ft. reel and up 60
Sales: 100 ft. subjects $1.95
400 ft. subjects 8.00
Exchanges: 100 ft. reel 25
Send for comprehensive list of
varied and interesting subjects.
Manhattan Film Rental Library
5115 18th Ave. Brooklyn, N. Y.
7. All letters submitted, whether win-
ning the prize or not, become the
absolute property of Movie Makers
and may be published in Movie
Makers or not, as the editor may de-
cide, without compensation therefor
to the writer. The only compensation
is to the one prize winner.
8. The judges are listed previously.
9. Letters should be addressed as fol-
lows: "Why I Film" Editor, Movie
Makers, 105 If est Fortieth Street,
New York, New York, U.S. A.
News of the industry
[Continued from page 440]
were remembered. A grateful Rochester
gave a fitting recognition of the services
done by one of its foremost citizens.
Gregory Consults ■ Amateurswill
be glad to
know that Carl Louis Gregory, 76 Echo
Ave., New Rochelle, N. Y., long one of
the outstanding contributors to the
moving picture industry, has entered
also into the consulting field for non
professional movie makers. Mr. Greg-
ory has had an interesting career, start-
ing with the position of official photog-
rapher with the Department of the In-
terior. From there he went to work for
Thomas Edison and then to the old
Thanhauser Studio as a director. After
making the first motion pictures ever
taken at the bottom of the sea, he was
made a Fellow of the Royal Photograph-
ic Society of Great Britain. His later
connections include those as Dean of
Photography at the New York Institute
and Chief of Production for the Orient
and India Pictures Corporation. With
such a background Mr. Gregory is well
ecjuipped to handle the problems of the
motion picture.
Jones-National ■ Tne National
Theatre Supply
Company, exclusive agents for Victor
Animatograph products on the Atlantic
coast, announces the appointment of
H. O. Jones as manager of their Sales
and Service Headquarters at 242 West
55th St., New York City. It will be re-
membered by many dealers and friends
that Mr. Jones was associated with the
former QRS-DeVry Corporation and the
National Theatre Supply Company in
their Philadelphia, Washington and
Baltimore offices.
Weston records ■ The eclipse of
1932 was the
first to be measured photoelectrically
on an extensive scale. In addition to
the usual magnetic and spectroscopic
studies, many of the expeditions meas-
ured the variations in light intensity by
means of Photronic cells and associat-
ed apparatus made by the Weston Elec-
trical Instrument Corporation of New-
ark, New Jersey. By means of these
cells, which are the same as those used
in the Weston Universal exposure me-
ter, the intensity of the light throughout
the entire day, as well as that during
the actual eclipse, was recorded.
Weston Electrical Instrument Corporation
Measuring light during the
eclipse with Weston cells
Simplo Titler ■ Two aids for the
amateur are an-
nounced by Willoughbys, 110 West 32nd
St., New York City. The Simplo Titler
accommodates the Simplex Pockette as
well as all models of the Cine-Kodaks
including the new 8mm. camera. By a
simple changing of pins, the various
machines can be put in the correct posi-
tion with relation to the title copy. An
ingenious device, in the form of a roller
with a knob for turning, permits the use
of long backgrounds to save using a num-
ber of separate cards. This may be used
for scroll titling also. A supplementary
lens which is used with all cameras is
furnished with a spring to hold it over
the regular lens. This firm also offers a
new magnifying viewer for easy inspec-
tion of a frame of 16mm. film. A com-
pact magnifying lens is incorporated in
a holder with a spring fastened ground
glass back, behind which the film is
slipped for observation. The image is
seen very sharply, and enough light is
furnished by directing it at an ordinary
piece of white paper under a lamp.
Kin-O-LuX ■ The availability of a
new type of 16mm.
film at a lower price has been recently
set forth in the Kin-O-Lux 100 foot unit,
marketed by Kin-O-Lux, Inc., 105 West
40th St., New York City. Because of its
low price, this film has certain limiting
qualifications, although these, if under-
stood and accepted, will produce satis-
factory results. It is not panchromatic
in quality and, with it, pictures are best
taken under bright lighting conditions
with the ordinary //3.5 lens. Employing
a faster lens, shots may be secured in
bright shade or under more unfavorable
lighting circumstances. However, in
view of the contrasty nature of this type
MOVIE MAKERS
457
CRAIG JR.
SPLICER $5
Now available for use wibh both 8 mm
and l6 mm films.
CRAIG SPLICER $\5
^ Now available in 1 6 mm size for use
with either silent or sound on film films.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
*>:
r
«*?
•
Photo by Gayle B. Pickwell
Your equipment
incomplete without
a velostigmat
Why do movie makers everywhere
specify Wollensak Velostigmat
lenses? — sharp, brilliant definition
to the very edges of the film; speeds
fast enough for almost any light
condition; special compactness to
prevent optical or mechanical inter-
ference. Try a Velostigmat on your
own camera. Ask your dealer or
write direct for free trial offer.
Cine-V elostigmat f/3.5
— standard equipment
o?i many of the finest
movie cameras. Popu-
larly friced. Many
other models.
WOLLENSAK OPTICAL CO.
987 Hudson Avenue
Rochester, N. Y
Since 1899 — manufacturers of quality lenses.
of film, best results are gained in sun-
light, a condition under which most or-
dinary movie shots are taken. Kin-O-
Lux comes in 100 foot lengths, on day-
light loading spools. Its price is three
dollars including processing.
New negative ■ For tnose ania_
teurs who wish to
use the negative positive process in
16mm., in order to provide a plurality
of copies or for other reasons, there has
been recently brought out the Special
Gevaert Film which is said to be a super
fine grain emulsion of full orthochro-
matic quality. It may be procured on
daylight loading spools of special de-
sign, ready for exposure in any 16mm.
camera, from the Gevaert Company of
America, 423 West 55th St., New York.
N. H. pan ■ A 16mm. negative film,
having all the qualities
of the standard negative stock as used
in the professional motion picture stu-
dios, is now available from the DuPont
Pathe Film Manufacturing Corp., 35
West 45th St., New York City. This
negative has a special, non halation
feature similar to that of the well known
"grayback" type and has, in addition,
an emulsion of superspeed, panchro-
matic quality. It may be had on day-
light loading spools with or without
processing.
Gillette in sound ■ The acquisi
tion of a fine
collection of up to date, 16mm. sound
on disc subjects is announced this
month by Gillette Camera Stores, Inc.,
of Park Ave. and 41st St., New York
City. These subjects are wide in variety
and are composed of both single and
multiple reel units. They are to be dis-
tributed through a special rental plan,
details of which, as well as a complete
listing of titles, may be had on applica-
tion to Gillette Camera Stores, Inc.
Lens correction ■ Tnis depart
ment regrets to
announce the inclusion of an unfortu-
nate typographical error which oc-
curred in September Movie Makers
under the description of the new, fast
Cooke //1.3 lenses for use on Bell and
Howell cameras. The sentence, "Under
the most difficult lighting conditions, a
Cooke one inch //3.5 lens provides the
ultimate in speed", should read ". . .
a Cooke one inch //1.3 lens provides
the ultimate in speed."
8mm. library ■ For projectionists
using the popular
eight millimeter film width, the Koda-
scope Libraries, 33 West 42nd St., New
York City, have announced a number
of films available in these library fea-
tures. These may be obtained at a sub-
stantial saving over the price of cor-
A New Light for
INDOOR MOVIES *5
complete with Reflector and Stand
This new reflector takes either the 400 T bulb or
the new 64 volt bulb, and gives equivalent light
from either. Takes any T type bulb up to 500 watt.
Just the thing for portraiture or indoor movies.
Reflector and stand sell regularly for $11.50. Our
price — only $5.00 while the supply lasts. The 64
volt bulbs are only $0.40 each. The 400 T bulbs
are $2.75 each.
Ask for Our Bargain Book — Just Off the Press
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM10F Chicago, 111.
©
TITLES
HERE'S ' Complete editing and titling
IyesT[R.davI service. (16 mm. or stand-
/Q\ ard.) Cinematography.
203 Professional Bldg. CLendale 0011
DETROIT, MICH.
CLARK CINE-SERVICE
The
Most
Comprehensive
RENTAL LIBRARY
of 16mm Sound Subjects
Now available for
Movie Fans!
The Gillette Rental Library of sound-
on-disc subjects is the largest and most
complete in the country. Talking car-
toons, comedies, travelogues, sports, ad-
venture and features are now available for
home entertainments, community and
club performances, or for educational and
industrial programs. This Service is
available to users within 24-hour parcel
post delivery distance of New York City.
Reasonable rates. Send coupon today for
free catalog of subjects.
Gillette Camera Stores, Inc.
Park Ave. at 41 st St. New York
Gillette Camera Stores, Inc., 117 Park Ave.,
N. Y. C. "The Home Movie Corner."
Please send me the free catalog of sound-
on-disc subjects available through the Gillette
Library. We use equipment.
NAME
ADDRESS
458
OCTOBER 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Carry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink & Son, Shattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive.
Fresno: Potter Drug Co., 1112 Fulton St.
Glendale: Kug-Art Plioto Service, 507 W.
Colorado Blvd.
Hollywood: Bell & Howell Co., 716 N. LaBrea
Ave.
Hollywood Camera Exchange, Ltd., 1600 N.
Cahuenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
HOLLYWOOD FILM ENTERPRISES, INC.,
6058 Sunset Blvd.
Huntington Park: Huntington Park Camera
Shop, 6508 Pacific Blvd.
Huntington Park Pharmacy, 6101 S. Pacific
Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co., 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
B. B. Nichols, Inc., 731 S. Hope St.
Schwabacher-Frey Stationery Co., Box 1347,
Arc. Annex.
Tappenbeck & Culver, 10958 Weyburn Ave.,
Westwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Oakland: Adams & Co., 380 14th St. •
Eastman Kodak Stores, Inc., 1918 Broadway.
Pasadena: Richard Fromm Photographic Service,
965 S. Fair Oaks Ave.
F. W. Reed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes. 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirsch & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
Phil Lasher, Ltd., 300 7th St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Plioto Supply Store, 66 S.
First St.
San Rafael: Webb & Rogers, 4th and B Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: Camera Shop, 800 State St.
J. W. Collinge, 1127 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop, 404-16th St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Danbury: Heim's Music Store, Inc., 221 Main St.
Hartford: Harrison Harries, 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co.. 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Willielm Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwai eh : Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: McDaniel Gift Shop, 21 W. For-
syth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
Pocatello: Cook Drug Co., 333 W. Center St.
ILLINOIS
Chicago: Associated Film Libraries, Inc.,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 W. Washington St.
Post Office News Co.. 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanlev-W'arren Co., 918 Irving Park Blvd.
WOLK CAMERA CO., Opp. Post Office, 219
S. Dearborn St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., Inc., 112 W. Wayne
St.
Frankfort' Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co.. Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd & Jefferson
Sts.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Plioto Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing Inc., 421 Sixth St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Stark-Films, 219 W. Centre St.
Zepp Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston : Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St.
Dadmun Co., 39 Washington St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Movie Service, 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Worcester: J. C. Freeman & Co.. 376 Main St.
Harvey & Lewis Co., 513 Main St.
L. B. Wheaton, 368 Main St.
(Continued on i>age 460)
MOVIE MAKERS
459
KAYE DON— GAR WOOD
HARMSWORTH RACE 1932
See the world's fastest boats in action — A thrilling pic-
ture. Produced by Hazen Coon. 100 ft. $2.90 16mm.
TITLES with beautiful moving backgrounds now only 35c
for 8 words. 10 THE END titles with moving back-
grounds for $1.00.
H. C. FILM SERVICE
12191 ILENE AVE. DETROIT, MICH.
REAL BUYS^=
400' Aluminum Beels 38c
Humidors 45c Cement 20c
3%" Cooke Telephoto Lens $40
100' Kin-O-Lux 16mm. Film with Process $ 3
Cine-Kodak Model "K" /yi.9 & Case $115
Wide Angle Lens $34.85 Extra
EVERYTHING IN PATHEX 9'/2 mm.
BELOW WHOLESALE PRICES. LISTS.
Mogull Bros., 1944 Boston Rd.J.Y.C.
-EXCHANGE-
Distinctive Films of Quality
Quality Has No Substitute
Please refer to our advertisement
in classified section.
1041 JEFFER/ON AVE. BROOKLYN N.X
Uhler 16mm. Step Printer
FOR THE
Amateur or Professional
Motor Driven
400 ft. Capacity
12 Light Changes
Friction Take-Up
A Guaranteed Printer
at a Low Price
Write for Descriptive Literature
LOUIS S. UHLER
3422 Howard St.
Detroit, Mich.
Movie Makers
subscribers:
You need a binder for
the monthly issues of
this valuable maga-
zine. Avail yourself
now of the opportu-
nity to purchase one
or more at $1.50 each.
($.40 additional for
Canadian and foreign
postage).
Send your order direct
to:
AMATEUR CINEMA LEAGUE
105 W. 40th St. New York, N. Y.
responding 16mm. The library also an-
nounces a clearance sale of used 16mm.
library films at very low prices. These
subjects, although not new, are in good
condition. They may be rented from the
nearest branch for examination and the
rental credited on the sale price if pur-
chased.
Eight reds ■ That well known
manufacturer of cine
accessories, A. C. Hayden of Brockton,
Mass., has recently announced eight
millimeter reels and humidor cans at
factory prices. These may be had for six
dollars in standard packages of twelve.
Reels and humidor cans for 16mm. are
also offered at a corresponding economy.
Northeast ■ A new, two lamp
unit, complete in
every respect, has been recently an-
nounced by Mark J. McCann of the
Northeast Products Company, Tewks-
bury, Mass. An unusual feature about
the outfit is that its price includes the
two Photoflood bulbs which are fur-
nished. Adjustable, metal tripod and
connecting cord and switch complete
the equipment. A double lamp reflector
such as this will give plenty of light for
most kinds of indoor movies, using su-
persensitive film.
FRFP FIIK/K ■ These films, on 16, uu-
1 •^■-t TII-IVIJ less 35mm. is specified,
are loaned free except jor payment of -postage.
Requests should be addressed to the Amateur
Ci?iema League, Inc., 105 W. 40th St., N. Y. C,
and films desired mentioned by titles. Re-
quests on receipt, are forwarded to distributors
who get in touch •with applicants and make book-
ing arrangements. Specific dates cannot be
promised until the applicant hears from the dis-
tributor. Do not send postage with requests;
■when it is required, the distributor will notify
the applicant. Of course, films should be returned,
post-paid. Some films are limited to groups, in
which cases it is so stated in the reviews. In
applying for films limited to groups, the type
and probable size of the audience must be men-
tioned. Films are not available outside of the
United States, unless so stated. Any amateur may
apply for films reviewed as this service is not
limited to Amateur Cinema League members.
■ Girdling The Globe, one reel, 16 mm.,
reviewed through the courtesy of the
Goodyear Tire & Rubber Company, pre-
sents outstanding scenes during the Graf
Zeppelin's eventful trip around the
world. Lakehurst, Friedrichshafen,
Berlin, Tokio, Los Angeles and the re-
turn to Lakehurst are shown in wild ac-
claim of the triumphant voyage.
■ Conquest Of The Forest, one reel,
16mm., reviewed through the courtesy
of the General Electric Company, pre-
sents scenes in the logging country of
the Northwest. The film gives a clear
picture of the lumber industry, its mag-
nitude and modern methods of trans-
portation. Available to groups.
• A Vacation Adventure, one reel,
16mm. and 35mm., produced by Ray-
Bell Films, Inc., for the Modern Wood-
men of America, presents the adven-
tures of an artist in the woods sketch-
ing animals. Available to groups.
Write Me
FOR A REAL DEAL ON
A NEW 400 WATT
AMPRO
Shows 9x12 foot pictures with real theatre
brilliance. Quiet running. Amazingly sim-
ple to operate. Does not wear or tear film.
Excellent for Kodacolor. Operates on AC or
DC without adjustment. Fast, automatic re-
wind. You can't get a better projector at
any price. Only $175 complete. Write for a
deal.
BARGAIN
SCOOP |
Hot from the press. MOW RFADV
Full of real bargains '^^W l\CrVL»7
on new and used, up-to-the-minute movie
and still equipment and accessories. Save
money. Write at once for this Bargain
Scoop.
WOLK CAMERA CO.
219 S. Dearborn St. (Dcpt. MM2) Chicago
USE
ART
TITLES
Ofl smart designs
OU and styles to
suit all occasions.
Use as many as you
like, without extra
charge. Exquisite
^^^^^^^^^^^^™ type style. Brilliant,
clear, clean-cut letters. Ample footage.
Quality and uniformity positively guaran-
teed. Any title 8 words or less 25c. Extra
words 3c each. Minimum order $1. Send
today or write for fully illustrated folder
showing all styles and designs.
ART TITLE GUILDE
5519 Broadway, Chicago, III.
FROM
EVERYWHERE
come exchanges in constantly in-
creasing numbers, augmenting one of
the most complete film libraries in
the country. When your present films
become tiresome, we will exchange
them for equal or better films of
the same length, at the rate of
75c per reel I to 10 reels
65c " " II to 25 "
55c " " 26 to 50 "
50c " " 51 to 100 "
Send 10c for comprehensive catalog.
NavilioFilmRentalLibrary
TO MEMBERS
5 to 9 reel feature. .. .$1.50 per day
Send for membership blank.
SOUND-ON-DISC LIBRARY
Announcing a New Service
We have purchased a complete sound-on-disc
library, including over 500 reels — short sub-
jects and features.
Rental Fee. $2.00 per night, including disc.
Exchange Fee., $4.00 per reel, including disc.
Send 25c for catalog. This amount will be
refunded on receipt of first order.
J. NAVILIO FILM EXCHANGE
1757 Broadway
Brooklyn, N. Y.
460
OCTOBER 1932
(Continued jrom page 458)
MICHIGAN
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.; 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co., Dept. 290.
E. B. Meyrowitz, Inc., 1516 Wasnington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Michigan
Ave., W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. S: Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc.. 825 Nicollet Ave .
National Camera Exchange, 5 S. Fifth St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
E. IS. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St.
Plaza Camera Co.. 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co.. Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
MONTANA
Billings: Midland Drug Co.. 23 N. 27th St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Levy's Sport Shop, 149 Monticello
Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artist's Photo Service, 19 Fourth St.
Montci.air: Edward Madison Co., 427 Bloom-
field Ave.
Morkistown: Ajemian Camera Shop, 3S South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co.. 103 Halsey St.
Paterson: Walker Radio & Elec. Co., 318 E.
33rd St.
Summit: Eastman Bookshop. 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadway.
Binghamton: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buppalo: J. F. Adams. Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co.. 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 305 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 145 E. 60th St., nr. Lexington
Ave.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
Abe Cohen's Camera Exchange, 120 Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Cullen, 12 Maiden Lane.
Davega, Inc.. Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop, Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & T.embke, Inc., 7 E. 48th St.
GILLETTE CAMERA STORES, INC., 117
Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Joseph P. Hackel, Rm. 1919, Chanin Bldg.,
122 E. 42nd St.
Hecker's Camera Store. 1519 Amsterdam Ave.
HERBERT & HUESGEN CO., 18 E. 42nd
St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand. Times Bldg.
Lugene, Inc.. Optician. Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
LUMA CAMERA SERVICE, INC., 302 W.
34th St.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz. Inc.. 520 Fifth Ave.
MOGULL BROS. ELECTRIC CORP., 1944
Boston Rd.
New York Camera Exchange. 109 Fulton St.
Newman's Camera Shop, 1197 Sixth Ave.
Y. Nomi, 174 W. 95th St.
Parker and Battersby, 146 W. 42nd St.
Pickup & Brown, Inc., 368 Lexington Ave.
Rab Sons, 1373 Sixth Ave.
Schoenig & Co., Inc., 8 East 42nd St.
Frank Tanham & Co., Inc., 9 Church St.
WILLOUGHBYS, 110 W. 32nd St.
Northport: R. E. Sears, 487 East Main St.
Poughkeepsie: Marshall's Gift Shop, 341 Main
St.
Rochester: Marks & Fuller Co., 36 East Ave.
Sibley, Lindsay & Curr Co., Kodak Dept.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Vonkfrs: Joseph F. Blatzheim, 4-6 Riverdale
Ave.
NORTH CAROLINA
Charlotte: W. I. Van Ness & Co., 213 N.
Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard St.
Canton: Roth & Hug Co. 539 Market Ave.
Cincinnati: Eastman Kodak Stores, Inc., 27 W.
4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416^ Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Dept. 90. Public Square.
Home Movies Co., 2025 Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply. 62 E. Gay St.
Don McAlister Camera Co., 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: V. E. Fowler, 824 Gallia St.
Steubenvillh: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept., Fifth,
Washington & Alder Sts.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M, S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
IIarrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: Johnstown News Co., 115 Market
St.
Lebanon: Harpel's, 757-9 Cumberland St.
Philadelphia: G. P. Darrow Co., Inc., 5623-5
Gennantown Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio, 20th and Chestnut Sts.
KLEIN & GOODMAN, 18 S. 10th St.
MacCallum Stores, 1600 Sansom St.
Straw-bridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co.. 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Jermyn Bros., 205 N. Washington
Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware Co., Sporting Goods
Dept., 115 E. Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Pawtucket: Thomas N. Simpson, Broadway and
Exchange St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Westcott, Slade & Balcom Co., 95-99 Empire
St.
TENNESSEE
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Shop, Inc., 113 W. 6th
St.
Chas. G. Lord Optical Co., 704 Main St.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks, 119 W. Holly St.
Pasco: New Pasco Drug Co.
Pullman: R. R. Hutchison, Hutchison Bldg.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
Lowman & Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. C,
707-11 Sprague Ave.
MOVIE MAKERS
461
Joyner Drug Co., Howard & Riverside Ave.
Tacoma: Eastman Kodak Stores, inc., 910
Broadway.
Walla Walla: Book Nook Drug- & Stationery
Store*.
WEST VIRGINIA
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
Eastman Kodak Stores, Inc., 737 N. Milwau-
kee St.
Photoart House of Milwaukee, 220 Wells St.
Oshkosu: Coe Drug Co., 128 Main St.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon : Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 124 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Cape Town: Kodak (Soutli Africa) Ltd., "Ko-
dak House," Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (Soutli Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (Soutli Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
RosAitin de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Hales
Sydney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Harringtons, Ltd., 386 George St.
Kinelab Film Service, Adams' Bldg., 484
George St., opp. Queen Victoria Market.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harrington's, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
West Australia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News. Ltd., Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St., W.
T. Eaton Co., Ltd., Dept. D30, 190 Vonge St.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave. at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd.. 286 Craig St.,
W.
886 St. Catherine St., W.
Gladwish & Mitchell, 7 Cypress St.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393
Nanking Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cyneca-
meras, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Colin, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Esrypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 18-19 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars, 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate St.
E. C 2: Wallace Heaton, Ltd., The Arcade.
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd„
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd.,
119 Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Kodak, Ltd., Kingsway.
Sands, Hunter & Co., Ltd., 37 Bedford St.,
Strand.
W. 1 : Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 Bond St.,
47 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., Dept. 109, 400 Ox-
ford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing'.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak, Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str. 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi. 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Den Haag: Capi, 124 Noordeinde.
Fotoliandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Broerstraat 4S.
Rotterdam: Bollemeijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz U-4.
INDIA
Ahmedabad: R. Tolat & Co., Bawa's St.,
Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd.. Hamilton House, Gra-
ham Road. Ballard Estate.
Calcutta: Army & Navy Cooperative Society,
Ltd.. 41 Chowringhee St.
Photographic Stores & Agency Co., 154
Dhuramtolla St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa Jt Co., Ltd., Sanjo Kobashi.
Osaka: Shueisha, 25 Kitahama 4 Chome,
Higashiku.
T. Uyeda & Co.. No. 4 Junkeimachi Shinsai-
baslii-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agencia Postal 25.
Casa Calpini. b. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd.. Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Water-worths, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
294 Lambton Quay.
Waterworths, Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien AS, Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine, 103^4 St. Vincent
St., C. 2.
Kodak, Ltd.. 46 Buchanan St.
J. Lizars, 101 Buchanan St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol 4
Avenida Conde de Penalver 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang: St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 39 High St.
SUMATRA
Medan: Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet. Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Freiestrasse 74 (So-
deck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation,
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co., Bahnofstr. 61.
Winterthur: Alb. Hoster, Marktgasse 57.
Dealers Listed In Black Face Italics Are Advertisers In
$3 a year (Canada, $4.00,
Foreign, $3.50) ; 25c a copy
MOVIE MAKERS
105 West 40th Street
New York City
"CAPTAIN SWAGGER"
Featuring Rod La Rocque and Sue Carol
Rod has been brought up as one of the idle rich young men, who finds his inherited fortune suddenly wiped out.
His efforts to provide support for himself, as well as a lovely girl whom he has rescued and befriended, run the gamut
from highway robbery to Russian dancing in a Night Club. Fast, breezy romance with lots of exciting adventures and a
tender love story woven throughout — 5 reels.
IMPORTANT ANNOUNCEMENT
New 5th Edition, 210 page, Illustrated, Descriptive Catalogue now ready. Contains over 100 new subjects,
drops many of the older ones and reduces rentals of many others.
•
Also Catalogue of
KODASCOPE 8 LIBRARY
Is ready for owners of the new 8 mm. equipment — at loiver cost than 16 mm.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
..
DON'T PARK THERE
99
ii
SHORE SHY"
Will Rogers goes to town for a bottle of liniment but
cannot find a parking place near a drug store in Ogden or
Salt Lake, so goes on to San Francisco, Seattle, Los Angeles
and El Paso.
Will's characteristic titles greatly enhance the enjoy-
ment of the spectator — 2 reels.
Billy Dooley has recently enlisted in the Navy. When
his family hears that he is coming home on shore leave,
they decide to make his visit particularly pleasant by giving
everything a decided nautical environment. You have no
idea of how a home can become a battleship, if not an
actual battlefield — 2 reels.
Kodak Pupi lie, complete with f. 2 anas-
tigmat lens, Compur shutter, carrying
case, range finder, two colorfilters, cable
release and camera foot, costs hut $75.
Its enlargements prove
the rare precision of
fl^w
Kodak Pupille
1^ —
IM "
1
THE value of any "still" minia-
ture camera depends upon the
quality of the enlargements its neg-
atives produce. Examine a Pupille-
exposed negative and the enlarge-
ment it makes. You'll be amazed at
the exceptional sharpness and de-
tail. You'll realize why the Pupille
has so quickly won the favor of
movie makers who are critical of
their "still" results.
Has f.2 Anastigmat Letts
The Pupille makes sixteen pic-
tures, is/io x i%c inches, on a roll of
"vest pocket" (No. 127) Kodak
Film. Superlative quality in the pic-
tures is assured by a highly cor-
rected and extremely fast lens — an
anastigmat with the speed of f.2 —
that makes you practically inde-
pendent of light conditions. With
Kodak Pupille you can take pic-
tures as close as 2x/2 feet from the
subject without an auxiliary lens.
Other features include: Compur
shutter with a range from 1 to Msoo
second, besides bulb and time; a
detachable periscopic range finder;
precision-cut spiral mount for ac-
curate camera extension; a safety
device to prevent premature expo-
sure; a built-in depth-of-focus scale.
See Kodak Pupille at your Kodak
dealer's. Ask him to show you
the other miniature Continental
Kodaks, too — Kodak Vollenda
and Kodak Ranca. The Vollenda
is equipped withy.3.5 anastigmat
lens and Compur shutter, and sells
for $27.50; the Ranca carries an
/I4.5 anastigmat lens and Pronto
shutter, and costs but $16.50.
Eastman Kodak Company, Rochester, n. y.
Here's a Genuine Bell & Howell
FILMO PROJECTOR
A #150
Greater Brilliance
Simplified Operation
New Low Price
THREE important improvements have been made in the new
Filmo M 16 mm. Projector, which comes to you at the lowest
price ever. Full 300-watt illumination is accomplished by a new pro-
jection lamp — 20 percent more light than the 250-watt lamp gives. A
new square base-mounting, which becomes the bottom of the carrying
case, gives the Model M great stability in operation. Projector is always
set up, always ready for action. You can put the new Filmo M Pro-
jector into action in less time, enjoy from it more illumination, and
pay less for it than ever before in Filmo history.
Remember, the new Model M retains the basic Filmo advantages of
direct lighting, flickerless 9-to-l mechanical movement, still projection,
automatic framing, reverse movement, forced air cooling, both manual
and automatic rewind, and, above all, the guaranteed precision and
dependability of Bell & Howell manufacture.
Without reverse lever and starting clutch, the new Model M may be
had at $135- For $7 additional, it may be supplied with 400-watt lamp.
3- YEAR GUARANTEE
The liberal guarantee on all Filmo Cam-
eras and Projectors has been extended to
three years, and provides for free annual
cleaning and oiling during this period.
What You See, You Get— with Filmo
The Filmo 70-D Camera is the master of al 1 personal movie
cameras. It has seven film speeds and a three-lens turret
head, which instantly switches from one lens to another.
Has variable viewfinder, variable with the focal length of
the lens used. Price, $245 and up with Sesamee-locked
Mayfair case. Other Filmo Cameras from $92 and up.
The Filmo 75 Camera, equipped with Kodacolor filters
and speed lens at $149.50, is the lowest-priced Kodacolor
equipped movie camera. Bell & Howell pays the tax.
f t t
Bell & Howell Co., 1843 Larchmont Ave., Chicago, III.;
New York, Hollywood, London (B&H Co. , Ltd.) Est.1907
t t f
Bell & Howell's quarter century of experience in
making the professional cameras preferred by
leading film producers enables this company to
design and build Filmo Personal Movie Cameras
and Projectors that assure you
The New Filmo JL
Finest of Projectors
Here's the finest 16 mm. projector yet made.
For small living room or large auditorium.
100% gear driven. Automatic rewind. New
400-watt, 100-volt Biplane Filament lamp
for strongest, most even illumination.
Automatic pilot light. New tilting device.
Illuminated voltmeter. Radio interference
eliminator. Other refinements. Price, com-
plete with case, $298.
B E L L &
FILMO
PROFESSIONAL
RES
HOWELL
Personal Movie Cameras and Projectors
i " "
Bell & Howell Co., 1843 Larchmont Avenue, Chicago
Gentlemen: Please send me full particulars on □ Filmo M Projector □ Filmo JL
Projector □ Filmo Personal Movie Cameras.
Name - -
Address
City
U L T S
WITH
State....
AMATEUR
EASE
,
/» 4*
\ rv
'' 5flsi^
M
25«s
NOVEMBER,
1932
Eight Yearly Services at
Less Than One Dollar Each
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc.
My remittance for $ made payable to AMATEUR
CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of this
amount, I direct that $2 be applied to a year's subscription to MOVIE
MAKERS. (To nonmembers, subscription to MOVIE MAKERS is $3
in the United States and possessions; $4.00 in Canada, $3.50 in other
countries.)
MEMBERSHIP $5 a year (CANADA $6)
LIFE MEMBERSHIP $100 in one payment
and no further dues.
Everybody is buying more, but he buys care-
fully and wants full value. Here is an offer
with not only full value but an amazing in-
crease over full value. Each of these AMA-
TEUR CINEMA LEAGUE services is alone
worth the price of all. Each will save you film waste and the
embarrassment of showing pictures of which you are
ashamed. A five dollar League membership brings you:
1. MOVIE MAKERS. Every member gets it. Others pay three dollars a year. Its
contents and the distinction of its magazine style have no superior anywhere. It is
one of the world's rarely beautiful magazines.
2. TECHNICAL CONSULTING SERVICE. Frederick G. Beach, the League's
Technical Adviser, answers your individual questions with individual answers. The
League has no "form letters," "syndicated" or "boiler plate" replies for you. Your
problem gets an answer for you alone. Mr. Beach will examine your films and tell
you how to improve them. This service is based upon the unique background of ex-
perience that the AMATEUR CINEMA LEAGUE alone possesses, because ths
League has dealt for years with thousands of amateurs.
3. CONTINUITY AND PHOTOPLAY SERVICE. James W. Moore, the
League's Continuity and Photoplay Consultant, will give you ADVANCE ADVICE
about making your pictures. This saves film waste and prevents your having a mean-
ingless hodgepodge to show your friends. Mr. Moore will tell you how to make
real pictures ; he will tell you how to prepare scenarios ; he will give you new ideas ;
he will give you detailed service with business, professional and propaganda films.
He will review films that you have made and suggest improvements. These are not
warmed over, trite, professional commonplaces — offhand advice, but your own treat-
ment of your own problem. Only the AMATEUR CINEMA LEAGUE has the
wide experience in distinctly amateur technique that is essential to do all of this.
You can't get it elsewhere.
4. CLUB SERVICE. Only the League is in real and continuous touch with th-;
amateur club movement. Its Club Service aids in getting clubs going and in keeping
them alive. It provides for clubs the ONLY CLUB FILM LIBRARY IN EX-
ISTENCE. It does not flatter clubs; it SERVES THEM.
5. BULLETINS. The League's bulletins — printed and mimeographed — come out
periodicallv. These have detailed information on fundamental amateur filming
subjects. THEY ARE AVAILABLE TO LEAGUE MEMBERS ONLY.
6. SPECIAL SERVICES. The PLOT SERVICE CHART and the TITLE
SERVICE CHART have been devised by the League to give you individual service
in plot preparation and film titling.
7. EQUIPMENT SERVICE. The League knows sources of supply as nobody
else can know them, because it is at the very center of the amateur movie industry.
This information is at your service.
8. MEMBERSHIP FILM EXCHANGE. The League has organized a direct
exchange of films between its members. ONLY MEMBERS MAY ENJOY THIS
and only those members who are, themselves, willing to exchange films will be given
lists.
Why can the Amateur Cinema League give these unusual services
for only five dollars?
The League has no stockholders who must receive dividends. It
does not maintain ""swanky" offices and a large and decorative staff.
It employs a small group of real workers at its headquarters. It has
that wide knowledge and experience that enable it to give immedi-
ate service without lost motion and floundering around for infor-
mation.
These Eight Services are
Yours to Command for
Five dollars a year
Name Street .
City.
State Country.
One of the Amateur Cinema League's animated leaders is free with
this membership. Please state width you wish — 8mm., — 9l/;mni„
— 16mm., — 35mm. NO — 32
Amateur Cinema League, Inc.
105 West Fortieth Street New York, New York, U. S. A.
MOVIE MAKERS
467
SERIES 10 PROJECTORS
D L
^pes the
VALU€
down ppes
the price!
PREMIER HI- POWER — MODEL 10FH
WITH No. a CENTER-OPENING CASE
iiiummATion
// COW6T1I6T1G6
U ^ UTILITY
B6AUTY
gain VICTOR steps ahead ... far out in front of the
"crowd1-1 . . . with outstanding refinements and reduced
prices that mark the beginning of a new era in 16 m/m
Motion Picture Projectors.
Illumination, performance and beauty such as you
have never before witnessed in 16 m/m projection equip'
ments await you in these new VICTORS . . . available in
3 models — Model 10 Regular with 400 Watt- 110, 115,
or 120 Volt Lamp; Premier *HlPower Model 10fh
with the Powerful 100 Volt-400 Watt Biplane Filament
Lamp; Universal *HlPower Model IOrh which is
equipped with the brilliant, economical 165 Watt' 30 Volt
Lamp, but which also accommodates the 400 W.400 V.,
375 W.'75 V., as well as all regular voltage lamps.
Write for literature which illustrates and describes the
many new features and improvements which Victor has
embodied in these finest of 16 m/m Projectors . . . and
ASK YOUR DEALER TO DEMONSTRATE.
(*The double-strength HI-POWER optical SYSTEM is
now standard equipment on Models 10FH and 10RH.)
Victor Animatograph Corp.
DAVENPORT, IOWA, U.S.A.
Eastern Branch: 242 W. 55th Street, NEW YORK CITY
West Coast Branch: Quinby Bldg., 650 So. Grand, LOS ANGELES, CAL.
ASK YOUR DEALER TO DEMONSTRATE
NOW
468
NOVEMBER 1932
KODACOLOR
WITH
TRADE MARK
REGISTERED
16 MM. MOVIE CAMERA
SIMPLEX POCKETTE IS LICENSED FOR
KODACOLOR BY THE EASTMAN KODAK
COMPANY UNDER KODACOLOR PATENTS
The unique flexibility of Simplex Pockette
Camera makes it possible to quickly change
from panchromatic or supersensitive film to
Kodacolor. Fascinating and beautiful re-
sults can be obtained of those subjects that
lend themselves to color. Use as much or,
as little Kodacolor film as you desire — then
change. Use as much or as little panchro-
matic or supersensitive film as you desire —
then change.
The obvious advantage of this inter-
changeability enables you to always use as
much or as little of exactly the right kind
of film for a particular condition by simply
changing the Pockette Magazine whenever
and as often as you please. No threading is
required, no time is lost and no film is wast-
ed. The partially used magazines can be re-
moved or replaced without difficulty or de-
lay— anywhere, anytime. You can't do this
with any other camera. Simplex Pockette is
the only camera that requires no threading
and is the only all-purpose Camera.
SIMPLEX POCKETTE CAMERA PRICES
With Kodak / 3.5 1" Anastigmat lens £52.50
With Hugo Meyer Trioplan / 2.8 YA"
fixed focus $67.50
With Hugo Meyer Trioplan / 2.8 #"
focusing mount $77.50
PRICES ON LENSES ONLY
Hugo Meyer Trioplan //2.8 M" fixed focus. Includ-
ing factory fitting and testing and new exposure
plate $25.00
Hugo Meyer Trioplan //2.8 J4" focusing mount. In-
cluding factory fitting and testing and new ex-
■ posure plate $35.00
Hugo Meyer Trioplan //4.5 3" telephoto with micro-
meter focusing mount $45.00
MODEL CC FOR KODACOLOR
Simplex Pockette Camera, Model CC, complete with
Kodak y/1.9 Anastigmat lens, Kodacolor filter,
and Neutral Density niters Nos. 1 and' 2 $119.50
Simplex Pockette Model CC Camera with Kodak
Anastigmat //1.9 lens $104.50
Kodacolor assembly for Model CC, consisting of
Kodacolor filters, and No. 1 and No. 2 neutral
density niters $ 15.00
Kodacolor filters, without neutral density filters. . $ 12.00
Neutral density filters only, each $ 2.50
Complete filter outfit, consisting of Kodacolor filter,
neutral density filters No. 1 and No. 2 and color
filters CK 1, 2 and 3, and leatherette case $ 20.00
Any Simplex Pockette Camera can be
adapted for Kodacolor at a charge of ten
dollars. Hugo Meyer Lenses are inter-
changeable on Model CC Simplex Pockette
camera.
Full information regarding all models of
Simplex Pockette will be sent upon request.
Simply open the compartment door,
insert Simplex Pockette Magazine,
close door and begin filming.
INTERNATIONAL PROJECTOR CORPORATION
90-96 COLD STREET NEW YORK, N. Y.
469
©C1B 169910
OCT 29 m?J
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII ^November, 1932 Number 1 1
Cover design Alexander de Canedo
"Why I film" contest ; 472
Responsibility, editorial 475
Short but perfect Ernest W. Page, ACL 477
Trre family problem Theodore G. Rockwell, A CL 478
Winter additions Carl Louis Gregory, F. R. P. S. 479
The clinic Russell C. Holslag, ACL 480
Amateur clubs James W . Moore, ACL 481
Autumn situations C.W. Gibbs, ACL 482
Using lights indoors Frederick G. Beach, A CL 483
New ones for winter Epes W . Sargent, ACL 484
Editing neatly William S. Halstead 485
Practical films 486
Editorial imperatives James W . Moore, ACL 487
Art title background, photograph Charles J. Belden, ACL 488
News of the industry 489
A film party D. C. McGiehan, ACL 492
Slowing down your camera W . C. Bennett, jr. 494
Closeups 502
The ten best 503
Free films 507
Art title background, relief design Earl H. Smith, ACL 508
Around the world with Movie Makers 510, 512, 513
Featured releases 511
Editor
ARTHUR L. GALE
MOVIE MAKERS
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign $3.50) ; to members of the Amateur
Cinema League, Inc., $2.00 a year, postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August 3, 1927, at the Post Office at
New York, N. Y., under Act of March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and Publication Office: 105 West 40th
Street, New York, N. Y. Telephone PEnnsylvania 6-6836. Advertising rates on application. Forms
close on 10th of preceding month.
RUSSELL C. HOLSLAG Advertising Manager
JAMES W. MOORE Assistant Editor
FREDERICK G. BEACH Technical Assistant
ALEXANDER de CANEDO Art Editor
470
NOVEMBER 1932
*Filmo Accessories*
To improve yesterday's lilsus. mahe tomorrow's better
• Cooke 15 mm. F 2.5 Lens. For work
in close quarters — indoor shots, street
and ship-deck scenes, etc. Takes in area
40% wider, 40% higher than 1-inch lens.
And it's a Cooke lens, which speaks for
its excellence. Most professionals use
Cooke cine lenses ex-
>-.„v clusively. 15 mm. F 2.5
universal focus, $45. In
focusing mount, $55.
• B & H Extra Bright Screen. High re-
flective surface on sheet aluminum base gives
brilliant color or black and white movie pro-
jection. Screen surface turns face in for
storage. 20x27 in., $21; 30x40 in., $39.
• B&H Photo-
meter. Gives
accurate expo-
sure readings on
the important
part of your sub-
ject. You sight
through the
Photometer on your
subject, turn a dial
until an electric fila-
ment matches subject
brilliance, then take
your stop reading
from the dial. Model
A for Filmos; Model
B for still cameras.
$17.50. With case, $20.
• The Filmador — a thermo- humidor.
For maintaining films in finest condition with
a minimum of attention. Holds three 400-foot
reels. One heavy aluminum container within
another. Air-tight, insulated against quick
temperature changes, moisture-tight. Price, $5.
• B&H Reels and Cans. The sturdy B &
H 400-Foot Reel needs no hub threading.
Springs grip film tight against hub for wind-
ing. Calibrations measure footage on reel.
Strong, tight, easily opened B&H Cans have
telltale humidifying pads which clearly indi-
cate dryness. Cans and reels, each 75c.
• B&H Splicer with Dry Scraper.
The B & H 16 mm. Splicer, sole maker
of the strong, pliable, diagonal splice,
gains new operating convenience and
speed with the addition of the B&H Dry
Scraper. This new unit shaves off emul-
sion cleanly, with an easy stroke or two,
and without use of water — just as B & H
laboratory scrapers do.
Splicer with Scraper,
$10.25. Scraper for your
B&H Splicer, $2.75.
NEW LOW PRICE
We announce a substantial
reduction in the price of the
Continuous Attachment for
Filmo Projectors. Flawless
operation for hours, repeat-
ing film of up to fifteen
minutes duration. Inquiries
invited.
BELL & HOWELL*FILMO
Bell & Howell Co., 1843 Larchmont Ave., Chicago, 111., New York, Hollywood, London (B&HCo.,Ltd.) Est. 1907
MOVIE MAKERS
471
ANNOUNCING a complete new line
of Bell & Howell 16 mm. FlLMO PROJECTORS
Important new features. New low prices
Now . . . you pay no more for the BEST!
YOU can now have an improved Filmo Projector . . . with
every essential feature . . . with new powerful illu-
mination ... a Filmo capable of showing life-size 16 mm.
movies of theater quality ... at a price approximately one-
fourth lower than ever before!
Now that Filmo M Projectors are available, and at new
low prices, you might as well enjoy Filmo's superior quality
and Filmo's superior pictures, because you pay no more . . .
sometimes less . . . for this extra value.
The new Filmo M Projectors have the same basic design,
the same fine, precise construction, as the previous models
which, during nine years of use, have gained for Filmo Pro-
jectors universal acceptance as the finest — finest in regard to
the brilliance, clarity, and size of their pictures, finest in
regard to constant dependability and longevity. They differ
from former models only in the direction of improvements.
These things mean that when you buy a Filmo you are not
experimenting — it has passed the test of time since the begin-
nings of personal movies. No Filmo has ever ivorn out! Every
Filmo is guaranteed for three years.
These improvements distinguish "M" from previous Filmo
models: (1.) More powerful lamps for greater picture brilli-
ancy. See model listing below. (2.) Broad, secure rectangular
base which forms the bottom of the carrying case. (3.) Pro-
jector is set up ready to use when the case top is removed.
Filmo JL Projector — the finest I l. . TO ' , ^H f~l
16 mm. projector yet made. For i rjk t-J^SHef Visit your dealer's today. See these new projectors at work.
small living room or large audi- \ «r*jMk_JI t i Or write to Bell & Howell for descriptive literature.
torium. 100% gear driven. Au- ' "
tomatic rewind. New 400-watt,
100-volt Biplane Filament lamp
for strongest, most even illumi-
nation. Automatic pilot light.
New tilting device. Illuminated
voltmeter. Radio interference
eliminator. Other refinements.
Price, complete with case, $298.
Filmo M Projector — Bell & Howell quality at new low prices
BELL & HOWELL
FILMO
Choose from these several
FILMO M PROJECTOR MODELS
Filmo M. 300-watt,
1 l 0-vo 1 t lamp, $•, e(V)0
clutch, reverse *-J\J
Filmo M-7. 400-watt, 100-volt
lamp, fixed resistance, jft-i SLA cn
clutch, reverse "iO^'"
Filmo M-L. 400-watt, 100-volt
lamp, variable resistance, volt-
meter. Willalsouse375-$-i Q"700
watt 75-volt lamp. .. . *-J I
Filmo M-A. For 32-voIt current.
Has 165-watt, 32-volt $"|CQ00
lamp, clutch, andreverse *Js
Filmo M-6. 300-watt, 110-volt
lamp, without clutch and reverse.
Single control model, recom-
mended for school class- £1 2 COO
room use i-DJ
Double Shuttle Tooth. Any Filmo
Projector may be had with double
instead of standard single shuttle
tooth. No change in price.
Kodacolorequipment for $2C00
any of above, add to price DJ
1000-Foot Capacity on $Xcqo
anyof above, add to price *-?
Bell & Howell Co., 1843 Larchmont Ave Chicago, 111. BELL & HOWELL CO., 1843 Larchmont Avenue, Chicago
New York, Hollywood, London (B & H Co., Ltd.) Est. 1907 Gentlemen: Please send me full particulars on ( ) Filmo M Projectors
f f i ( ) Filmo JL Projector ( ) Filmo Personal Movie Cameras.
Bell & Howell's quarter century of experience in making the
professional cameras preferred by leading film producers en- Name
ables this company to design and build Filmo Personal Movie
Cameras and Projectors that assure you Address
PROFESSIONAL RESULTS WITH AMATEUR EASE City. State
472
NOVEMBER 1932
HO WHT 32nd JTRt ET, N.Y.
Here's your opportunity to own a Telephoto
Lens at an unusually low price.
We have purchased a limited number of
brand new WOLLENSAK TELEPHOTO
LENSES in former model focusing mounts,
made to fit any standard 16mm. camera.
Each lens guaranteed absolutely perfect, and sold with our 10 day trial offer —
money refunded in full if you are not satisfied.
Focus
2"
3"
3%"
4"
6"
Speed
f/1.5 Cine Velostigmat
f/4.5 Wollensak Telephoto
//3.3 Wollensak Telephoto
//4.5 Wollensak Telephoto
f/4.5 Wollensak Telephoto
List
Special Price
$75.00
$30.00
55.00
20.00
75.00
30.00
60.00
23.00
75.00
30.00
EXPOSURE
*****
For Absolute
Accuracy in
obtaining
CORRECT
EXPOSURE . . .
We Recommend the New
WESTON EXPOSURE METER
For Still or Movie Cameras
It's constructed around the world-famous Weston Photronic Photo-Electric Cell
— operates without batteries and is positive in action. There's nothing in it to
wear out — so it should give lifetime service.
To read: Sight through the notch at top of meter — read the brightness of the
scene on the scale — set calculator accordingly — and read immediately correct
diaphragm and shutter speed.
The meter is not affected by climatic conditions or intensity of light.
Price $39.75, with case
The Splicer — supplied on the
$35.00 Rhamstine Editor — can
now be purchased separately. It
is mounted on a sturdy wooden
block, nicely finished, furnished
with cement, water bottle and
scraper blade, complete. Splices
film quickly and efficiently.
Price $4.50
"Why I film" contest
There is a New Year gift of fifty
dollars awaiting some reader of this
magazine. The Movie Makers "Why I
Film" Contest, announced in Septem-
ber, has still two months to go before
the letters are turned over to the judges
for appraisal.
There are as many reasons for ama-
teur filming as there are amateur
filmers and your reason as told by you
in your letter may strike the judges as
the best statement of what lured you
into the delightful hobby of personal
movie making. Your letter can be for-
mal or informal, light or serious, as your
own judgment dictates. The judges will
get the letters and no instructions with
them other than those in the following
rules.
Send your letter in early.
RULES
1. Write the best letter to Movie Mak-
ers on "Why I make amateur
movies."
2. Anyone who has done amateur film-
ing may enter the contest. There is
no other limitation.
3. The best letter we receive will win
a cash prize of $50.00. There are no
other prizes.
4. The letter must not be longer than
700 words. It may be written in any
language but, if published in Movie
Makers, it will be translated into
English .
5. The contest opened September 1,
1932, and closes December 31, 1932.
The prize will be paid after the
judges' decision early in January
and the tvinner will be announced in
Movie Makers for February, 1933.
6. Letters must be written on a type-
writer, on one side of the page only
and double spaced. They must be
signed ivith the actual name and ad-
dress of the writer.
7. All letters submitted, whether win-
ning the prize or not, become the
absolute property of Movie Makers
and may be published in Movie
Makers or not, as the editor may de-
cide, without compensation therefor
to the writer. The only compensation
is to the one prize winner.
8. The judges are: Hiram Percy Max-
im, President, Amateur Cinema
League, Inc.; Walter R. Hine, Vice
President, J. Walter Thompson Com-
pany; Dr. Lawrence C. Lockley, au-
thority on writing letters.
9. Letters should be addressed as fol-
lows: "Why I Film" Editor, Movie
Makers, 105 West Fortieth Street,
New York, New York, U.S. A.
B
O
L
E
X
WHAT DEALERS AND OWNERS SAY
DEALERS who have seen and tested the BOLEX, claim
it the finest piece of 16mm. merchandise ever offered
to the American public at the price of $99.00. This
projector is well known to European dealers for its
ready sales and numbers of satisfied purchasers.
OWNERS who have screened their 9.5mm. and 16mm.
pictures, which they themselves have taken, say that
in the 9.5mm. a brilliancy and detail is realized which
has heretofore been lacking and in 16mm. screen
results equal those of machines of much higher prices.
■Change from 9.5 to 16 a matter of
seconds only. No tools necessary.
I Illumination: Special, 250watt lamp,
guaranteed 100 hours, giving a clear
picture up to 5x8 feet.
I Rewind: High geared, by hand or by
motor.
I Controls: Conveniently grouped on
side nearest the operator. Forward
and reverse speeds, fully controlled.
BOLEX FEATURES
■ Threading: Made easy by following
simple guide. Straight line film
travel. Smooth, vibrationless per-
formance.
■Construction: Mechanism support
of aluminum, cast in one piece under
high pressure. Mechanism is totally
enclosed. Controls and fitting nickel
and chrome plated.
■ Ventilation: Highly efficient, by
means of forced draught. Fans
PRICES
operate during projection either of
stills or movies.
'Stop on film: Full illumination pro-
vided indefinitely without damage
to film by means of motor declutch-
ing control.
■Size: Compact and convenient.
Reel arms fold into small compass,
measuring 9!/2"x8"x5". Weight,
complete, only 9]/z lbs. approxi-
mately.
9.5 or 16mm. Models, $99 Combination Model, $109
'THE SPIELER" "FOURTH ALARM!'
68 Reel
Silent Library
16mm.
Offered Exclusively
To Bolex Dealers
In Any City
BOLEX O
Sole distributors for U S.
45 West 45th St., N. Y. C.
474
NOVEMBER 1932
1 r ^T 1
1 ^1 ^fi Rk
■
V !• *^\^^B
1
A NEW THRILL
FOR MOVIE MAKERS!
Shoot scenes indoors as easily as outdoors
. . . and almost as inexpensively . . .
with this amazing new lamp!
Ihe NEW G. E. Mazda
Photoflood lamp developed by General Electric is the greatest light
source ever offered to amateur movie makers!
Brilliant as a 750-watt lamp, it offers you studio" lighting from
ordinary home lighting sockets, without blowing fuses. It enables
you to make sparkling, clean-cut movies right in your own home,
free from expensive, cumbersome apparatus. And this amazing new
lamp sells for only 35 cents!
During the 2 hour life of the G. E. MAZDA Photoflood lamp, you
can film hundreds of feet of precious home-life scenes. You can
capture baby's swim in the bath-tub ocean, the children tumbling
about in indoor play, that impromptu dance when the
neighbors dropped in, and many other sequences you will
always treasure. All you need is super-sensitive film in your
camera, and one or more G. E. MAZDA Photoflood lamps.
You will want to try this important new development in
home movie lighting at once. Get some G. E. MAZDA
Photoflood lamps at the store where you buy film and go
adventuring at home. You'll never tire of these movies !
When you buy Photoflood lamps, always look for the mark
MAZDA, the G. E. monogram and the word Photo-
flood" on the end of the glass bulb. That is your guarantee
of quality. General Electric Co., Nela Park, Cleveland, O.
Write for a free folder about the new
G. E. MAZDA Photoflood lamp.
\\P^
"^*T~W
fi
■
-• V-
W , ■ I'
{ &*''
\^^±. \JI
^s
. w-
v '41
'?*•-""
f-gii '.J
:. ^
^^^w ^ 1 1
_JM
«
**?:
?jj
m
i %3*\
b^^^. ^. '
■
> ,
i
Tak<
i-ft
»n with
1 G.E
MAZDA Photoflood lamps
u
se G.
E. Mazda
I Ph
otoflood lamps
1 to
make
sparkl
ing
GENERAL §M ELECTRIC
MAZDA PHOTOFLOOD LAMPS
Responsibility
THE AMATEUR CINEMA
LEAGUE, INC.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and now
spreading over many countries. The League's consult-
ing services advise amateurs on plan and execution of
their films, both as to photographic technique and con-
tinuity. It serves the amateur clubs of the world in
organization, conduct and program and maintains for
them a film exchange. It issues bulletins. It maintains
a plot service and title service. The League completely
owns and operates Movie Makers. The directors listed
below are a sufficient warrant of the high type of our
association. Your membership is invited.
DIRECTORS OF THE LEAGUE
President
HIRAM PERCY MAXIM Hartford, Conn.
Vice President
STEPHEN F. VOORHEES New York City
Treasurer
A. A. HEBERT Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
Managing Director
ROY W. WINTON New York City
Address all inquiiies to
AMATEUR CINEMA LEAGUE, INC.
105 W. 40TH STREET, NEW YORK CITY, U. S. A.
THE discussion on this page is, as usual, addressed to movie makers but it is
not, as usual, concerned with movie making. It is addressed to movie
makers, because this magazine is published for them and because movie
makers are members of an exceedingly important and vital group in the world of
today, the group of responsible and conservative men and women upon whose
judgment, probity and decision rests the solution of the world's problems.
As this is written, the people of every country are concerned about the future
course of action of the United States after that country's presidential election. A
few days after this is published, that election will have taken place. Some Ameri-
cans may feel, after the election, that the way is open for a new conduct of their
country's affairs and that in this new way will be found the answer to the hopes
of so many citizens of the world, everywhere. Others in the United States may
feel that their country has departed from the safe ways of wisdom and that it has
started in the direction of untried experiments. Some may rejoice that a familiar
leadership has been continued; others may believe that progress has been delayed
for another quadrennium. Still others will have little thought at all and will
accept what happens as inevitable and not worth any consideration whatever.
In the midst of these attitudes, which are largely emotional, there must pre-
vail the reasoned and calm determination that the work of so great a nation as
the United States must go forward practically and unhysterically, and to that
determination the responsible people of the American commonwealth must
dedicate themselves. Those in the group of responsible people who are satisfied
with the election results must guard most carefully against a hasty and premature
decision either to institute changes or to crush out any tendency toward change.
Those who are dissatisfied must see to it that their disappointment does not lead
to pessimism and an unwillingness to cooperate with those upon whom the
business of government will rest. The winning and the losing sides must remem-
ber that the partisanship of election time should be ephemeral and periodic and
that, between elections, the great work of a nation must be accomplished by
national and not by partisan efforts. Partisan winners, with the bit in their
teeth, riding down all opposition and partisan losers, sulking in their tents, are
bad citizens equally. Responsible Americans must see to it that partisanship
retires to the background of the national scene.
This responsible group, to which movie makers belong, has an increasing
duty in every country of the world and that duty is to lessen the number of
apathetic and unconcerned citizens to whom governmental affairs are of no
moment, except as they may provide some personal benefit or special privilege.
This responsible group has upon it the difficult task of persuading the apathetic,
when they are aroused, to look at governmental matters broadly and fairly and
not narrowly and selfishly.
The United States has made its decision for another four years. Responsible
citizens of other countries may look with confidence toward responsible Ameri-
cans, because responsible Americans will see to it that the United States neither
sinks into an obstinate Bourbonism nor swings off at any wild or radical tangent.
William M. Rittase
MOVIE
MAKERS
477
Short but perfect J;
'HE best play „{ the afternoon was when Football filmed In
we gained fifty yards of film in one football
game! What a game! And what a reel! . ■ ■> ,
This was several years ago, and I can well re- eCOnOmiC3l limits
FRMF^T W PACT API member telling Bill before the game that we
' would be wasting film to take our outfit along, by re 3 1 planning
after seeing some of the cinematic sins of our / F O
neighbor in the next block. "Why, he's got stacks
of football scenes lying around and he doesn't know what game they belong to or
what the score was." It seemed silly to me to think of spending money that way.
Bill replied that it didn't excuse us. We ought to profit by his failure, and so we
talked about his pictures and what was wrong with them. In the first place, he had
nothing but straight football scenes, and it might have been a practice game for all
we knew. Some of the plays started in the middle and finished at the end of a time out
and others began with a wobble and ended with a closeup of a man's hat. The only good
scene, we agreed, was the one where the camera ran down while being wound and was
accidentally whirled around at some cheering crowds. He had put it in after a touch-
down, and there is no doubt that it was real art. Now, if we could get a lot of these
inserts to alternate with our football plays, we would have a drama, a film that even
an English cricket fan would enjoy.
I maintained that there were two purposes in making football films, recording the
game, itself, and recording the atmosphere. Bill agreed and added that the atmos-
phere was created entirely by the inserts between the plays, that is, all the closeups
of the crowds, the band and the drunk who always starts a fight in the next section.
Now we were getting somewhere. It only remained for us to list these inserts and
determine where and when they would be taken. Here is the list we made out, and I
copy it directly from the back of an envelope: 1. Iris in to scene of Bill and Jean (his
young sister) climbing out of the car with balloons. Six feet. 2. Bill buys a program.
(This scene was my suggestion.) Four feet. 3. I buy peanuts for the crowd. (His sug-
gestion.) Four feet. 4. Short scene of crowds outside stadium. Four feet. 5. Closeup
of a football placed on the front lawn, to be spliced in just before the kick off. Two
feet. 6. Two rooting stunts ; band parading between halves. Twenty feet. 7. Telephoto
shot of scoreboard at end of each half. Six feet. 8. A rapid montage sequence to go
in after a touchdown: a. The people right behind us, yelling, b. Yell leaders' antics
(telephoto). c. Jean throws her balloon away. d. Closeup of Bill's face, with the door
open. e. Closeup of hand crushing my hat. (The last two were taken at home before
we started. We finally used a friend's hat.) Ten feet were allowed for this sequence.
As you will notice, we made a budget of the exact amount of film required for each,
and the total amounted to 56 feet. A ten percent allowance for waste footage brought
this to 62 feet. We then allowed 13 feet for titles, and our budget for everything but
the actual football plays amounted to 75 feet. (Of course, our state of finances did
influence us in making this budget. If we had belonged to the set of idle rich we would
not have cared about the amount of film we used. But the idle rich, being idle, would
probably not take the time to plan their reels ahead of time, which rather evens the
score.) Anyway, footage and budget were in harmony.
The next question was a philosophic one. What proportion of the finished film
should be allotted to the straight football scenes to make up an ideal reel? After
careful deliberation, we both agreed that fifty percent was the ideal; so we bought
a hundred and fifty feet of "pan" film, packed our three inch telephoto in the camera
case and set out for the game.
What happened? We arrived early and consumed five minutes in getting that first
shot of Jean and Bill climbing out of the car with balloons. One balloon popped dur-
ing the action and rather improved the scene. I had to hold the camera and run the
button with one hand, while opening the iris diaphragm with the other. If we'd
thought about it, we could have brought the tripod for this scene and could have left it
in the car during the game.
Bill bought the program, I bought the peanuts and we were only one foot behind
our film budget.
On the way in, Bill upset the budget by sneaking up with the camera on a fat
woman who was trying to squeeze through the crowds in the doorway, but it was worth
the three feet.
While sitting as comfortably as possible near the top row of the shady side and
opposite the forty yard line — these seats were chosen especially for the pictures —
we discussed some of the points connected with taking [Continued on page 493]
478
R. I. Nesmith and Associates
A background type
for titles of the
film plotted here
THEODORE G. ROCKWELL, ACL
The family problem
Are family films
inevitably doomed
to dull banality?
I AM worse off than Sir Joseph Porter,
K.C.B., of Pinafore fame, because, in
addition to "his sisters and his cousins
and his aunts," I have sons and daughters,
brothers and sisters in law, nephews and
nieces and grandparents, in full measure.
Every holiday, particularly if a week
end is involved, a large number of the
relatives gather at my place in the country. While the grounds are not large,
there are to be found a barn, swings, rings, a tree house, a shack and a tennis
court, while the lake and golf course are near. I have plenty of film on hand
and dozens of haphazard scenes are shot. In reviewing them recently, I decided
that all branches of the family must have sprung from the original Mr. Babbitt.
No other could have produced a clan so prone to prosaic and trite actions and
poses. There is always the long shot of Uncle Somebody arriving in his car;
then we have semicloseups, as each member of his family alights and kisses
the hostess. The same routine is followed when Cousin Whosit and family or
Auntie and Gramp arrive, until all are assembled. Then there are hard on the
eyes shots of children in the swing. Next is a too far away view of the luncheon
tables under the trees or an underexposed scene, if it is indoor weather. After
the meal, we all gather on the lawn, if it is summer time, or shiver on the open
porch in cold weather and we attempt some action. The guests shove each other
around, push hats over eyes, make faces, point up into the sky, try to brush
Junior's hair or straighten Sister's dress.
In a search for new ideas, I asked various friends to show me their family
film albums. Those pictures were not much different from mine except that
their relatives always waved hat or hand at the cameraman, while I had cured
mine of that habit in the first few months of movie making.
Last summer I wrote to each family group and suggested that a reel be
taken at home to illustrate the particular phase that distinguished that branch
of the family and I asked that all of the reels be sent to me to be edited, titled
and spliced into a composite whole for showing at our Christmas reunion. For
titles, I used a blackboard and drew cartoons. When I assembled the film
and spliced in my titles, each one based upon the distinct characteristic of
that particular family unit, as it was known to all the rest of us, the resultant
reel was not only very funny, because of its incongruity, but it illustrated
emphatically the lack of imagination that is found in nearly every family
film that the average audience has ever seen.
One brother is a banker and talks of nothing but finance. The title for his
reel showed a pile of money bags. The camera he borrowed was set at half speed
and his family dashed in and out of doors, their automobile whizzed around cor-
ners, they popped out of the car and fairly jumped at each other, embraced
and bounced apart and the dog raced a girl on a bicycle at breath taking speed.
The reel had us all in an uproar.
The next title showed a country church, and we all knew which branch of
the family was to follow. One by one, they came out of their front door, got into
their car — and then the entire family got out of the car and walked into the
house with eyes straight ahead. Then came a lightning like panorama of the
house and grounds with the camera swinging from left to right and back again
and, last, a picture of their church.
The rest of the group films were only variations of these, following titles that
were appropriate from the family knowledge of their various traits. In and out
of the front door — pet the dog — Junior takes off his overcoat and puts it on
again — an underexposed interior with someone at a desk or table and, possibly,
a few out of focus closeups.
In one number of Movie Makers, there was estimated the number of reverse
camera diving sequences. I wonder if you could get statistics showing the
family pictures that have the front door in action. Anyway, I am certain that
many amateurs, like myself, would welcome a few suggestions for spicing up
our family films and giving them new interest.
Movie Makers invites its readers to send in suggestions as to how Mr.
Rockwell's dilemma might have been met. Pending the receipt of this "advice
from the front," there is offered here one plan for [Continued on page 495]
Winter additions
CARL LOUIS GREGORY, F.R.P.S.
THERE may be a hundred reasons why the amateur
movie maker cannot devote the care and thought to his
work that is given in professional picture making. But
lack of time is, at once, the commonest and the most reason-
able excuse for failure to impart the finishing touches that
are the hall marks of successful pictures, either amateur or
professional. When he is filming, the amateur movie maker
is usually doing something else as well — he may be traveling,
enjoying his vacation or taking a day off at the lake shore
with his family. Other interests compete with movie making
and other claims upon the amateur's time often prevent him
from getting the little finishing touches that he would like to
have in his pictures.
However, it is one of the advantages of movie making that
a film is never finished until one has decided that it is. During
the winter, it is always possible to make additions to the
summer's pictures. Titling and editing are obviously first on
the list of improvements that may be made, but the amateur
with ingenuity, the assistance of a title board, a firm tripod,
a few lights and the odds and ends afforded by the average
home need not stop there. If the paraphernalia of the still
photographer are also available, then the possibilities are
almost infinite.
With these basic ingredients one can add trick titles, in-
serts, closeups, new scenes, travel maps, animated diagrams,
in fact, almost anything imagination can conjure or heart
desire. An ordinary kitchen table with a smooth top is needed.
It costs very little to buy it if there is not an extra one about
the house. This table should be kept sacred for the patient
working out of ideas rather than borrowed temporarily from
the kitchen, if peace is to be kept with Her Culinary Majesty.
It may serve in turn as a cutting table, drawing board, ani-
mating stand, title board support, work bench and stage.
When closeups are to be added to round out the action in
a film already made, it is, of course, necessary that the back-
ground which is used for the closeup shall not conflict with
the background of the long shot into which the closeup is to
be spliced. For this reason, the movie maker who intends to
shoot auxiliary closeups should provide himself with a set of
neutral backgrounds from which he may select one that will
make the closeup seem appropriate. For instance, if the long
shot involves a beach or seashore location, he should choose
Summer films may
achieve new charm
with new closeups
a white background for
the closeup shot; if the
scene is of ordinary na-
ture, where no conspicu-
ous objects are involved,
a neutral gray back-
ground will usually
serve while, if the gen-
eral tone of the scene is dark as in the case of a picnic under
the trees, the closeup showing the pickles and sandwiches
passing from hand to hand can be made against a dark back-
ground. These backgrounds, used thus, will seem perfectly
natural for two reasons. First, because the attention is cen-
tered on the closeup and second, because when the lens is
focused normally on a closeup, the background will be thrown
out of focus automatically, since an optical fact adduces a
shallow plane of sharp focus in closeups.
Sheets of heavy cardboard, painted white, gray and black,
as big as the table top, or larger, are best for the backgrounds
but, in emergency, clear wall space behind the table can be
covered with paper and be made to serve. Two or three sheets
of beaver board are excellent but even that small expense can
be saved by using sheets of veneer or corrugated board from
packing cases, which can be obtained for nothing from any
store that sells furniture, radios or other large objects.
Having now assembled the equipment of our miniature
studio and production unit, let us go into executive session
with our associates, if any, and plan our first masterpiece.
Interested friends are very helpful in planning additions to a
picture. Often, suggestions from one not completely familiar
with the film will start new trains of ideas.
Here we can use to advantage the five cardinal points of the
cub reporter — who, what, when, where, why. To have our
story complete we must answer these five questions either
through the medium of titles or pictures, clearly, succinctly
and with interest. By this method, the movie maker can arrive
at the viewpoint of the spectator who may see the finished
production with no foreknowledge of what it is all about and
only an impersonal interest in its content.
What, who and when are usually answered in the opening-
subtitles, although pictures are better if they can be used
without tiresome circumlocution. [Continued on page 496]
Hands in familiar
tasks add intimate
note of interest
479
The clinic
RUSSELL C. HOLSLAC, ACL
Shorter days ■ The phrase, "November's chill," is a
stock one and it cannot be denied that it
sometimes applies with peculiar force along toward the end
of the fourth quarter of the Thanksgiving Day football game.
Nevertheless, November will have many pleasant, clear days
to offer and plenty of filming opportunities. The main thing
to remember is that now the days are becoming definitely
shorter, not only visibly but actinically. That is, the effective
light for photography begins to wane earlier in the afternoon.
This fact, coupled with the abolition of daylight saving, makes
it advisable that the amateur consider his daylight well when
shooting before ten in the morning or after three in the after-
noon on these late fall days. A faster lens and supersensitive
film are valuable allies when shooting under the less brilliant,
yellowish light of autumn afternoons. No other film than
panchromatic is so definitely sensitive to the color of daylight
at these periods, which occur late or early in the day. Darker
and more frequent cloud formations come in November and
these should be awaited as appropriate backgrounds for the
seasonal foreground subject. A red filter and superpanchro-
matic will give the sought after outlining effect that so often
makes a beautiful cinematic shot. Consider the accompany-
ing illustration which was made under these circumstances
and in which the foreground subject emphasizes, in its
motion, the speed of the scudding clouds.
Random shots ■ Fashion note: Up to date Kodacolor
lenses will not wear their neutral density
filters this November and coming winter season unless the
light is exceptionally bright. ■ The black, non halation back-
ing will now be found applied by a well known maker to all
"'straight" panchromatic as well as "super" film. Among other
advantages which this provides, one is that not so much film
will be fogged if the camera has to be opened for any purpose
when the roll is partially exposed. At the same time, neverthe-
less, open the camera in
the deepest shadow you
can find. ■ Letters in
titles made by the Koda-
color process should be
rather fat and thick —
"bold face" in printers'
parlance. A slanting or
Two motions give
mutual emphasis
in mountain scene
Ewing Galloway
Technical comment
and timely topics
for the amateur
inclined letter is also
very effective. Avoid us-
ing letters or characters
with thin vertical lines.
Eclipse inquests ■
Our hope for good
weather for the eclipse
was only partially fulfilled. Nevertheless, a number of valiant
amateurs made films with clouds, mist and all. And the films
were surprisingly good. The best shots were made with lenses
of long focal length and many and weird were the contrap-
tions used to steady lenses which, in most cases, were bigger
than the cameras they served. Pictures were made with and
without benefit of Movie Makers, but we are happy to
record that the average of those made under the former con-
ditions was higher. Doctor Kinema, lucky fellow, dwelt right
within the path of totality and secured some excellent shots.
We trust his jealously guarded retreat is not hereby revealed.
After all, the path of totality was long and wide.
Trick shot ■ A League member, full of ideas on Fall
filming, has shown us a most interesting
shot. He hollowed out a pumpkin, cut out the conventional
features and placed it on top of a fence post. By means of a
long cord extension, he was able to place a socket and high
wattage, incandescent bulb inside. Shooting this with super-
sensitive film just at twilight, with the bulb lighted, gave a
fine effect for a Hallowe'en sequence. A wide open stop is
the one to use under such circumstances, as this will make
the gleaming face of the pumpkin seem very bright in pro-
portion to the surrounding landscape, which is what would
happen were the event actually to take place at night. Since
the pumpkin plays no small part in Thanksgiving festivities,
why not incorporate this shot in a seasonal film?
16mm timer ■ ^n recent Olympic events, which involved
a racing contest, it was found that a stop
watch in the hands of an individual, measuring the start or
finishing time with an accuracy not greater than one tenth
of a second, was unsatisfactory particularly on close finishes.
To avoid ensuing disputes and to provide an accurate record
of the times involved, down to one [Continued on page 498]
Greenbrier Amateur Movie Club
State film ■ At The End Of The Oregon Trail is the title
of a feature length publicity film which is
being sponsored and produced in Oregon by the Portland
Cine Club. Designed to present the many charms and advan-
tages of life in the state, the film is avowedly an amateur
effort (as opposed to the professional type of publicity pic-
ture) and as such should represent with marked fidelity those
features of most immediate interest to an average citizen.
Rural activities in farming and lumbering, urban progress in
manufacturing, commerce, transportation, etc., and the wide-
spread opportunities for pleasant and gracious living will be
featured. The bulk of this material has been gathered
throughout the summer by club president Edward J. Schon
and secretary August Benz. All club members are now being
invited to cull and submit their best and most appropriate
scenes for "duping," in a further elaboration of the planned
continuity furnished to them. The completed picture has
already been assured of international distribution, and it is
hoped that a print will soon be available through the League
Club Library.
First banquet ■ The first annual meeting and banquet of
the Peoria Movie Club was held recently
with great success and marked the election of E. G. Shalk-
hauser, ACL, as chairman; C. S. Bunting as vicechairman ;
S. D. Roake, ACL, as secretary and treasurer. Arthur L.
Epstein, president of the Peoria Academy of Science, ad-
dressed the meeting on the educational use of motion pictures.
He expressed a wish that at some future time the Peoria club
might associate itself with the Academy for the purpose of
recording on film the field and laboratory work of its research
staff. Celestial Closeups, a film produced at the Princeton
University observatory and distributed by the League Club
Library, was screened at the meeting and later, by Mr. Ep-
stein, for the astronomical section of the Academy. Eugene
Wilson rounded out the
attractive program with
a screening of some of
his unusual travel reels,
in which there is fea-
tured a primitive Philip-
pine religious ceremony,
now forbidden by law.
Army air squadron
featured in film
is
Latest news of
group activities
and photoplays
by Greenbrier Club
Used Air Group ■
Eighteen Boeing pur-
suit planes, representing
the 33rd Pursuit Squad-
ron, U. S. A., now play a
decidedly important and
dramatically significant
part in the air sequences
of The Black Door, latest completed production of the Green-
brier Amateur Movie Club, of White Sulphur Springs, W. Va.
When the squadron called for a few days at Greenbrier Air-
port, director Hal Morey, ACL, suggested and secured this
unusual cooperation, probably placing an Army air group for
the first time as an integral part of an amateur photoplay.
A print of The Black Door is now in England, where it has
been submitted in the amateur filming contest being carried
on by The Era, a British newspaper of the theatre. The
Greenbrier group is in active production on its third photo-
play, a comedy entitled Any Ice Today, Lady?, in which
Dorothy Wyatt and Guno Karlberg will play the leads under
the direction of Mr. Morey.
Film eclipse ■ ^n outstanding reel of the recent total
eclipse of the sun is the proud achieve-
ment of the Boston Cinamateur Club, which sent a picked
delegation to York Harbor, Maine, to cover this phenomenon.
Following a carefully planned continuity and by shrewd
editing and titling, they have built up a record which gives
atmosphere and background to the event, as well as depicting
with unusual technical clarity such high spots as the full
corona, the diamond ring effect, etc. Tom Patten, ACL, Ed
Atkins, ACL, and Joe DePhoure collaborated on the photog-
raphy. Mr. DePhoure was in charge of editing and George
Woodruff supplied special art titles.
Recent weekly meetings of the Boston club have featured
a discussion of eclipse filming by Henry Shaw, ACL; a dis-
cussion of screens, from the early white sheet to the present
beaded surfaces, by Sam Gilbert; the screening of Bermuda,
by Mr. DePhoure; Scrapbook, by Mr. Shaw; Blue Hills Party,
by John McHugh, ACL; Lake Keezar, by Al Genaske; a
reel of title tests by Mr. Patten. Mr. Gilbert is in charge of
the production of Murder By Telephone, the latest club film
story, a one reel mystery drama. [Continued on page 500]
JAMES W. MOORE, ACL
481
Amateur clubs
Autumn situations
482
C. W. GIBBS, ACL
The time of day is
a factor in novel
films of old views
Ewing- Galloway
Special
that fa
conditions
II filming
generally presents
WITH the coming of autumn foli-
age, filming takes on a new im-
petus for new subjects are at
hand and old subjects are shown in a new
aspect under different lighting conditions.
Lenses are now turned toward football
fields, the Thanksgiving turkey, hunting,
hiking in the brisk air or other activities
which are part of our pre winter interests and which furnish good movie action.
In fall, the light is weaker than during the summer and it is very deceiving
in its intensity. Hence, do not place too much faith in your personal judgment,
but get the best exposure meter you can and let that instrument guide you in
choosing stops.
Although some amateurs specialize in their filming at this season of the year,
there is an infinite variety of camera fare. Football is, of course, important
among the possibilities and few gridiron enthusiasts will fail to take their
cameras to the Thanksgiving game. A telephoto lens should be used with a
tripod. In an emergency, an increased shutter speed of 24 or 34 frames a second
will smooth out screen movement caused by holding the camera in the hands
when using a telephoto lens. Hunting will have its enthusiastic followers, while
hiking will be the subject of some amateur fall pictures. Nearly everyone is
interested in harvest subjects — corn shocks, pumpkins, farm landscapes.
Probably all of us will have at least one opportunity to film some scenes in the
country. Offhand, one would think that making autumn scenes would not
require any different technique from that employed in summer filming, but there
is a difference. Autumn foliage is composed of various shades of yellows and
reds — colors to which the panchromatic emulsions are most sensitive. If it is
desired to photograph these colors and obtain the correct black and white tones,
so as to give a true rendition of the subject, a yellow green filter may be used
in order to reduce the excess red sensitivity of the film. Many movie makers will
find an unusual and sometimes not altogether pleasing quality in scenes of
autumn foliage photographed with yellow or orange filters because, in these
instances, the reds and yellows may be recorded too lightly.
Some foliage will be dark, some will be light, giving the cameraman an
opportunity to produce varied compositions. Sunlight streaming through the
trees will make a striking effect. But be careful not to overexpose even if the
background may be dark. Instead of working with large masses, we now have
a landscape split into smaller areas — the distant hill shows a mottled appear-
ance which will stand out much better than the hazy green we encountered
during the summer. Clouds lend more interest to fall landscapes as well as
summer scenes, but do not let an absence of clouds deter you from filming. If
the sky is clear, endeavor to obtain some prominent object in the foreground — a
tree, for example, with its branches filling some of the sky area. An alternative
to this is to include more foreground. Rarely select a camera viewpoint which
would fill half or more of the picture with sky. On a clear day, only a third of
the picture area should be given to the sky. A good composition of clouds
warrants more, of course.
Out of doors we sometimes lose our cinematic perspective. Confronted with
the wide open spaces, we tend to forget the closeup. Outdoors, as well as
indoors, the closeup will lend variety, interest and emphasis to sequences.
If you drive out into the country for cider do not forget the camera, because
plenty of interesting things to photograph will be found. A farmer is always
proud of his equipment and will be glad to have you film The Story Of Cider,
from picking the apples to draining the glass. Supersensitive film and a fast
lens will permit glimpses of the inside of the cider mill and the always fascinat-
ing old red barn.
When going into the country a variety of lenses is useful. One never knows
just what will turn up. When picking chestnuts, perhaps a closeup of the nuts
on the tree might be desired. You will find it is much easier to slip on a telephoto
than climb the tree. Often, in shooting an open landscape a better picture will
be obtained if either a narrower or wider angle is included. When you have
picked out a scene that seems to offer possibilities, look in your variable view-
finder and note with which lens the most suitable composition may be obtained.
Sunsets usually form a rather high percentage [Continued on page 499]
483
Using lights indoors
FREDERICK C. BEACH, ACL
Jk LTHOUGH the subject of interior lighting generally conjures up in the
MJL minds of movie makers a picture of a tremendous outlay ol equipmenl
§ ^ and knowledge of handling it, yet, with the proper approach, interior
filming may be made very simple.
In lighting a subject of any type, the problem is to make it appear natural
to the camera in the same manner that it does to the eye. In doing this, we must
take into consideration the fact that the eye of the camera is not as tolerant as
the human eye. For example, the lens and film will not compensate for harsh-
ness in lighting as the human eye tends to do. Our object is to see how to place
lights and subjects to get pleasing results without too much technical knowledge
of lighting.
The simplest method involves the use of one lighting unit and a reflector.
There are on the market, today, a number of very efficient lighting units employ-
ing either a five hundred watt lamp or a Photoflood bulb. For practical pur-
poses, we may say the two are about equal in illuminating power. Let us start
with a medium closeup of one person. As is advisable in all portraits, we shall
endeavor to procure heavier lighting on one side of the subject than on the
other. Placing the lamp at a distance of about six feet from the subject and at
an angle of about forty five degrees from the front, we find that the light is
well distributed over one side but the other is in heavy shadow which makes
the contrast too great to be pleasing. Having no other light, the best means of
lessening the contrast, or lighting the shadows, is the use of a reflector. See
diagram 1 on page 504. There are many types of reflectors that may be used
but, if none is at hand, the ordinary projection screen will make an excellent
substitute. Place it so that direct light will fall on it and be reflected on the dark
side of the subject. A bit of maneuvering will soon give the desired effect. Of
course you must be careful not to let either the light or the reflector come
within range of the camera. With the subject about six feet from the camera
and the lamp about five from the subject, an exposure of from //1.9 to f/2.8
with ordinary film and about //3.5 with supersensitive film would be used. In
giving these approximations of exposure it is understood that they are only
average and that they are liable to variation as the subject is light or dark.
The exact arrangement of lights and reflectors will differ with the type of
subject. Before shooting, it is well to view the subject from the position of the
camera. Look for unpleasant shadows or highlights which may be too promi-
nent. Try several positions and see which one seems the most pleasing. Lighting
is just what the name implies. It means that features of the subject may be
emphasized in order to appear on the film in a natural manner. The means of
emphasis in photography is the use of light. In other words, what we have to
do is to apply light in the proper place in an amount sufficient to cause proper
exposure on the film.
Probably the next step in home lighting which the average movie maker will
encounter is that which employs two lights of the type already described. Here
we have a more flexible source of light in that it may be divided and its direc-
tion more easily controlled. Again placing our camera about six feet from the
subject, we try to find just what position will be most advantageous for the
lights. One should be placed in about the same position as in the previous
set up. See diagram 2 on page 504. The other will work best at about ten feet.
Thus, by means of having one light further from the subject than the other, we
may vary the intensity of the light to prevent an even or flat result. It is well
to have one light slightly above the level of the subject's head to give a modeling
effect to the eyes. In the case of some persons, however, this may not be de-
sirable. Whether or not it is advisable to model the eyes may readily be dis-
covered if a little time is spent in studying the lighted subject before the shooting
commences. There are many variations of this simple form of lighting but dis-
cussion of them will be left for another article. With this set up the average ex-
posure may be taken at //4.5 to f/5.6 with
supersensitive film and f/2.8 with ordinary
panchromatic. When using the clear glass ^Aodcm CQUlDment
five hundred watt lamps, the light is often * ■
found to be very harsh. This may be over- I * l ' t ■ i
come by using diffusers. One or two thick- n d S S I m p 1 1 T I c U 3
nesses of cheese cloth will do very well ,
< placed in [Continued on page 5031 Winter ODDOrtUnity
One lamp properly
placed will give
a dramatic effect
ushing
New ones for winter
EPES W. SARGENT, ACL
Children as adults
at interior tasks
make fine subjects
Charles DuBois Hodges
Shoot indoors now
with fast film and
inexpensive light
EVEN as late as lasc year a large pro-
portion of cameras went into dead
storage when autumn winds stripped
the trees and rendered outdoor work more
or less uncomfortable. Some of these were
taken out for winter trips, but many of
them went on the shelf and stayed there
until the bluebirds and the circus tents
announced the return of outdoor activities and recalled the lure of filming.
This year few cameras will play bear and hibernate for the winter. Super-
sensitive film and the new Photoflood lights have completely changed the aspect
for the amateur. Today, indoor photography, after a very brief period of ex-
perimentation, is almost as easy as working under the sky. A few of the new
lamps and perhaps a length of flexible lamp cord provide the amateur worker
with an illumination that, two decades back, professional studios of Hollywood
would have envied. No longer need the amateur confine his winter film opera-
tions to editing and titling the summer product.
No one can realize the wealth of material close to hand until stock is taken.
There are pictures all about, simple, homely subjects, but interesting material,
much of which will become priceless as the years roll by. For instance, there
is in one household a cook who has been with the family for years. She is par-
ticularly famous for a cake whose lightness depends more upon the manner of
its mixing than on the recipe. Half a dozen times the real head of the house
has sought to convey in written form the exact procedure for the benefit of a
distant relative. Somehow the most elaborate instructions seem to go wrong.
Some time this winter that cake will be made with the camera following
every minute detail. Title cards have been prepared along the line of "Now sift
in three cups of flour." These will be propped against the mixing bowl to serve
as subtitles. It will be a long distance demonstration and is intended for a
Christmas present. Nothing could be more welcome.
In another home it is planned to make a daily record of baby's first tooth. No
fuss and bother. A scene a day will take care of everything.
Another camera worker is planning to make a pictorial roll call of each
meeting of a bridge club and is working out a technique for the exact record-
ing of some special hands. There will be a scanning of the four hands and then
the camera will shoot to the center of the table, with each play scored.
Replacement of the old coal furnace with an oil heater will give another
family a combined game room and studio in the basement. Little plays will be
done, each completed in an evening, mostly ten or twelve scenes with no sub-
titles. Some of the ideas are a disputed game of chess, Jackie's interrupted
homework, Mother rehearsing her speech for the Federation of Women's Clubs,
with time out for domestic interruptions. By spring the budding director plans
to have at least twenty impromptu sketches, some of which he hopes to incor-
porate in what he calls his "public" film, to differentiate it from those intended
chiefly for intimate family showings.
But a special room is not necessary. Every room in the house with light
sockets or which can be reached with a flexible extension cord now becomes a
well lighted stage. Even the attic, where such old fashioned places still exist,
can be made wonderfully pictorial. One shot shows a couple of "cute" young-
sters dressing up from the contents of an old trunk. A single scene shot, highly
effective, shows a rather elderly woman mooning over her "souvenir trunk."
From another angle a dancing teacher is making a record of her students
shortly after registration. They will pose for a similar picture in the spring
to display their progress. Two years ago it was not practical to light the studio.
Now, that's the simplest part and the rest is not much more difficult.
And baby films are being boomed. No infant with a camera minded parent
is safe. From the morning bath to "Now I lay me — " the child will have no
privacy from the amateur movie's public — not that he probably will mind. The
five and six year olds are coming in for their share of movie attention. Tea
parties, "playing house" and games in which the children imitate grownups
will all be filmed.
Last year an experimenter got some pretty good shots of frost crystals on
the window pane. Many of the exposures were spoiled through a lack of light-
ing or halation from too much sunlight. This year he plans to work at night,
with a single light carried outside the sash and placed above the area to be
photographed and a reflector held at an angle that [Continued on page 504]
484
485
iilii
njk J' | #i
With simple tags,
hooks and board
the trick is done
IN the editing process, the technical skill and mechanical
contrivances, which play so large a part in every other
phase of motion picture production, while important, count
for less than the creative ability of the film editor, himself.
Whether or not this expenditure of mental energy is enjoyable
depends, to a great extent, on the particular editing method
that is employed.
The simple and inexpensive editing board shown in the
accompanying illustration is an improvement over the usual
editing board in that identification of each scene of a film is
facilitated and the rearrangement of the scenes in their final
order is greatly simplified through the use of movable tags
suspended from a series of small hooks attached to the board.
Both the tags and the hooks are numbered for the purpose
of identifying and locating the various scenes.
The tags, which are made of cardboard, are about two
inches long and an inch and a quarter wide. They may be
obtained from almost any stationery store at a cost of about
twenty cents for one hundred. The small brass screw hooks,
which should be long enough to protrude about an inch from
the surface of the board after they have been fastened in the
wood, may be purchased from any hardware store at a very
low cost. The hooks are spaced about two inches apart on the
board, which may be an old drawing board about twenty four
inches long, fifteen inches wide and half an inch thick. An
odd piece of three ply veneer of approximately the above
dimensions will also serve.
In the editing board shown in the photograph, sixty six
hooks were used, one for each scene. As the average 400 foot,
16mm. reel contains fifty scenes, ample provision is made for
the editing of almost any one reel amateur film. If more than
one large reel is to be edited at one time, additional boards
may be employed.
The usual procedure is followed in the preliminary steps of
the editing process. If, for example, four one hundred foot
spools of film are to be edited and arranged in one large reel,
the leaders and trailers of each small roll are cut off before
the films are spliced together and wound on the 400 foot
exhibition reel. Then the film is run through the projector, or
viewing device, once or twice in order that the editor may
become thoroughly familiar with the various scenes, after
which it is rewound.
The next step is to run the film very slowly through the
Eugene Katz
projector in a room where there is some light. As the first
scene appears on the screen, a short objective description
together with any additional notations (such as eliminating
faulty frames) are written, with pencil, on a tag. The number
of the scene (a figure 1 in this instance) should be placed
in the lower left hand corner of the tag. It is then hung on the
first hook in the upper row of the editing board. In similar
fashion, the other scenes of the film are briefly described on
the tags which are then numbered to correspond to the order
of the scenes as they appear, whereupon the tags are hung on
their respective hooks. Thus the tag representing scene 2 bears
figure 2 in the lower left hand or index corner and it is hung
on hook 2 ; scene 3 is described on tag 3 and so on. After the
film has been completely catalogued in the fashion just de-
scribed, the result will be an exceedingly flexible and simple
miniature card index arranged in such a form that transposi-
tion of the tags representing the various scenes may easily be
accomplished.
Here, the actual editing or story building begins. It is in
this step, especially, that the editing board and the tags prove
their value. The extreme ease with which the tags may be
shifted about, coupled with full visibility of all the tags on the
board, permits the editor to concentrate solely on the creative
process of story building. With the board carrying the de-
scriptions of the different scenes in front of him, the editor
rearranges the scenes (tags) by transferring them from their
original positions to those they will occupy in the completed
film as it is visualized. If, for instance, original scene 18 is to
be moved so that it will be the fourth scene of the completed
film, tag 18 is shifted to hook 4. The tag originally placed on
the latter hook is moved to hook 18 where it remains until it
finds its final place. The hook and tag numbers, which should
be of sufficient size (about ^ mcn high) permit ready asso-
ciation of any scene of the film, itself, with its corresponding
tag regardless of the changed place of the latter on the board.
After the tags have
been arranged in their
final order, the location
and wording of the titles
may be selected. If a
title is to go in front of
scene 18, for instance, a
[Continued on page 506]
A convenient way
of arranging the
chores of editing
WILLIAM S. HALSTEAD
Editing neatly
Industrial scenes
frequently offer
good compositions
Leo J. Heffernan, ACL
School ■ E- M. Barnard. ACL, member of the Board of
Education, in Arkansas City, Kansas, recently
completed a 400 ft. film of school activities in his city. This
picture is to form the first unit of a permanent movie record,
to be added to from year to year. Concerning the film, Mr.
Barnard writes: "All of our buildings are included with
closeups of the children on the playgrounds. Each of the
executives is shown in his office and scenes of various voca-
tional classes describe some of the things our modern schools
teach. The orchestra and band come in for their share of
footage as also do athletic events. This year the schools will
buy their own equipment and carry on, for the first 400 ft.
film is merely a beginning."
■ Although the scope of amateur made teaching films is wide,
perhaps the most satisfactory subjects are afforded by courses
such as manual training or machine shop work which involve
manipulative technique. In this field, S. W. Gerrish, ACL, of
Utica, N. Y., is making a 400 ft. picture of classes in manual
training, machine shop and electrical shop. The film is de-
signed to introduce the courses to a new student and to help
him make a selection. In Newton, Iowa, A. P. Twogood, ACL,
is making How To Square Up Stock, a manual training teach-
ing film which will detail the exact procedure in preparing
stock for joining.
■ The Bureau of Visual Instruction in the Extension Division
of the University of Wisconsin has gathered together a very
complete educational film library for the use of Wisconsin
schools, with prints enough to take care of all demands. A
list has been prepared which is available to Wisconsin educa-
tional institutions. J. E. Hansen, Chief of the Bureau of
Visual Education, writes that schools in nearby states are also
welcome to use the Bureau's services. A film of Wisconsin's
beauty spots has been produced under the direction of Free-
man H.Brown, the assist-
ant chief of the Bureau.
• An Introduction To
Mechanical Drawing, a
400 ft. film to teach me-
chanical drafting, was
recently made by Floyd
Reporting uses of
personal films for
various
films
purposes
W. Cocking and James H. House of the Visual Education
Department of San Diego, Calif., reports Bell & Howell Co.
The film gives a brief correlation of drafting to industry and
then takes up the study of drafting by means of photographed
demonstrations, showing the use of instruments, drafting
technique and actual construction of typical drawings.
■ A dental health play, Grandfather Molar, produced by the
pupils of Eugene Field School in Chicago, has been filmed by
W. F. Kruse, head of the Educational Department of Bell &
Howell Co. The picture was made under the joint sponsor-
ship of Chicago Board of Health and Chicago Dental Society.
Business I Motion Pictures In Industry is the title of a ten
page report compiled by the National Indus-
trial Advertisers Association in cooperation with the Asso-
ciation of National Advertisers and the United States Depart-
ment of Commerce. The report summarizes the results of a
questionnaire on the use of motion pictures and still photo-
graphs which was sent to 2.000 industrial advertisers. It gives
interesting information on the types of motion pictures used,
results obtained and methods of distribution.
■ In Rochester, N. Y., Mark V. Ruda, ACL, is making a film
study of the operation of a printing plant. The picture being
made at the Ruda Printing Company plant will present all of
the steps in printing from the preparation of copy to the com-
pleted job.
■ A 200 ft. film demonstrating the technique of reweaving
moth holes, burns and tears in clothing is being made by
Eugene E. Sullivan, ACL, in St. Louis. The picture, telling
the story of an accidental cigarette burn and the reweaving
of the damaged area, will be used for demonstration and
advertising.
• A new and very effective use of amateur movies in business
has been introduced by R. J. Patell, ACL. factory representa-
tive in Osaka, Japan. Mr. Patell, who represents American
manufacturers in Japan, is making a motion picture to show
his clients and prospective clients the services he is prepared
to supply. The film will include information about the Japa-
nese market, Japanese business customs and Japanese needs.
486
Practical films
Editorial imperatives
JAMES W. MOORE, ACL
487
Portrait closeups
may well display
typical activities
Herman Bente
The
film
mea
essentials of
editing that
n good results
WHEN we think of editing here in
the League offices we often have
in mind the work that is done on
Movie Makers. We think of the many
processes that are gone through — selection,
arrangement, proofing, rearrangement,
making up, etc. — detailed and careful
steps to prepare the material of each issue
for presentation to the waiting audience. Throughout, our constant purpose is
to make this presentation as intelligent and attractive as the material will permit.
All of these things are true in editing a reel of film. There is the same purpose in
view and it is arrived at through many of the same processes. Let us compare.
First off, one must make sure of just plain sense in the material. The random
jottings from an author's notebook, no matter how interesting bit by bit, would
make strange and chaotic reading as a magazine article. It would be an unusual
reader who did not say to himself, irritatedly, "Why, this stuff doesn't make
sense!" and a rare editor who dared present such a hodgepodge to his audience.
He would not do it often, for soon there would be no more readers. And yet how
often will a movie maker present to his audience a reel of film that is just as
chaotic, just as great a hodgepodge — and wonder why it is not liked! Seventy
feet of a football game, ten of little Jane in a Hallowe'en party dress and twenty
of someone else eating a banana in reverse motion make no more sense than as
if, in this discussion of editing, the following paragraph were on filters and the
next on interior lighting. Obviously, then, our first step in film editing is to
segregate the various kinds of material so that within each batch of it we shall
be concerned with only one general subject.
The next job of a good magazine editor is to make sure that the sense of his
material is being presented in the clearest possible terms. Concern for balance,
accent or just the right effect does not enter into this work at all. An editor here
is examining the workmanship of the material before him to find whether it is
clear, straightforward and usable. He is looking for faulty words or expressions
which must be discarded, for material that is extraneous or repetitive and should
be cut and for ideas that are good in themselves but need rearrangement for
greater clarity. Just so, the next move of a film editor is to assure himself that
the material at hand is clear and workmanlike. Faulty frames and scenes should
be clipped with the same storied ruthlessness of an editor's ''blue pencil."
Rambling, repetitive material should be deleted for the greater strength of what
remains. And lastly, this remaining, good material should be rearranged to
present its message in the best possible order.
Coherence, then, will be the next concern of an editor, whether of magazines
or movies. Having at hand material that makes sense and that presents this
sense with the maximum of unimpeded clarity, one must determine whether it
all hangs together. Sentence or scene, paragraph or sequence, does our material
advance smoothly and logically from the one to the next? In representing an
idea with words, we were taught in early classes that to state the problem in the
first sentence, develop it in the following ones and sum it up in the last of a
paragraph was the normal procedure toward coherence. So, too, is it normal in
the preparation of a coherent motion picture sequence. First, the long shot to
state or establish our subject matter — a sailing for Europe, let us say. From this
general view of the ship we might continue with a medium shot of the bow,
getting the name, and then with another medium shot looking along the side
toward a crowded gangway. Smoothly, we proceed to several near shots from
varying angles of more passengers arriving, hurrying on board and waving
goodby. Then follow closeups of the members of our party as they wave, a full
frame closeup of the whistle blowing, and we have our development of the
opening scene. A briefer summation, made with scenes of the vessel leaving
the slip and at last swinging in midstream, rounds out and brings the sequence
to a natural and easy close.
Such, then, is the normal and always effective way toward coherence in
expository writing or movie making. But it is not the only way. Matching the
writer's trick known as synecdoche (letting a part stand for the whole, as in
"twenty sail" in place of "twenty ships") a movie maker might open his
sequence with a significant and striking closeup. In the European sailing, it
would be of the whistle filling the frame. Then [Continued on page 506]
*%vl
*,*.
**1SI
"'.'4. ■ ^^
■*. -
489
Modern design of
new Victor shows
distinctive trend
New Victor ■ -^ new series of the already famous
Victor projectors is now announced by
the Victor Animatograph Corporation, Davenport, Iowa. The
model 10 Regular is supplied with a 400 watt, 110, 115 or
120 volt lamp which, coupled with the remarkably efficient
optical system, is said to give great screen brilliance and
even illumination. The well known features of former
models, such as the exclusive four point film protection with
automatic film trip, adjustable shuttle and built in automatic
three way rewind, are incorporated. A new type of constant
speed motor is one of the outstanding improvements in the
finely finished Models 10. The feature model of the new
series is the Premier Hi-Power Model 10 FH. Here the new
Hi-Power optical system and 400 watt biplane filament lamp
combine to give a super brilliance. A unique feature of the
lamp rheostat is the manner in which it may be adjusted
for line voltage thus saving the lamp from overload and con-
sequent shortening of its life. A new rack and pinion tilting
device and automatic pilot light are added conveniences.
The walnut base and gold flecked brown finish with chro-
mium plate lend a distinctive air to the appearance of this
projector. The Victor Universal Hi-Power Model 10 RH is
identical to the Premier Hi-Power except for the lamp
resistance. In the 10 RH a variable type of resistance is used.
B £r H ■ Several innovations of interest are announced
this month by Bell and Howell of Chicago, Il-
linois. A dry scraper which may be attached to any B & H
splicer gives the amateur much the same facility in splicing
that professionals have. It consists of a unit which may be
attached in place of the ordinary film scraper guide and will
remove the emulsion without the use of water in one or two
easy strokes. Both the Filmo and Eyemo cameras are now
covered by a three year guarantee instead of a two year, as
heretofore. An additional feature of this new guarantee is
the arrangement by which owners of these famous cameras
may have them examined and thoroughly cleaned once a
year. It is expected that this will stimulate interest in the
care of the camera and make successful filming even more
certain. A new Cooke .64 inch projection lens enables the
user to get large pictures in a small room where the throw
is limited. It has the widest angle yet obtained in a pro-
jection lens and will prove invaluable under certain con-
ditions. It comes ready to use for the Filmo 57 and M model
projectors and can be adapted for the new J and JL models
at slight extra cost.
ReSlirget DeVry ■ From Herman A. DeVry comes the
announcement that he has purchased
the Q.R.S. DeVry Corporation and will continue the business
under the name of Herman A. DeVry, Inc., with the main
office at 1111 Center Street, Chicago, Illinois. Mr. DeVry
has long been noted for his connection with the moving pic-
ture industry and his high standards of manufacturing will
be carried on in the manufacture of the well known DeVry
sound on film projector, sound heads for theatrical ma-
chines, public address systems, amplifiers and a newly de-
veloped 35mm. sound camera complete with amplifier to sell
at a popular price. Important 16mm. developments are also
in preparation.
Cine Art boxes ■ Hollywood Film Enterprises, Inc., of
Hollywood, Calif., distributors of
Cine Art films, announce that all Cine Art films are now
packed in standard boxes having a red background, white
lettered, with black outline and carrying the company's trade
mark in the center. In the case of its Mickey Mouse and Silly
Symphony cartoons the box also carries the trade marked
cartoon of Mickey Mouse. This company requests the pur-
chasing public to insist on Cine Art films being delivered
in these special boxes in order to insure that the contents are
the genuine prints of Hollywood Film Enterprises, Inc., and
up to that company's standard. The company will appreciate
information of any offerings of its films that are packed
otherwise. It announces further that, if any purchaser sus-
pects that the film sold to him is not genuine Cine Art film
and if he will send the suspected print to Hollywood Film
Enterprises, Inc., 6060 Sunset Boulevard, Hollywood, Calif.,
the company will, if it
finds that the print is
not genuine, replace it
with a genuine print,
provided the purchaser
will inform the com-
pany of the name of the
[Continued on page 507]
query,
Answers the
"What's new?7' for
amateur and dealer
News of the industry
490
NOVEMBER 1932
^AUJetftfrJl
Thisfi
get the
DIFFICULT shots become easy
shots assume new qualities,
of film flashes on your screen with a
liance. These are the results you g€
star members of the Eastman lir
Kodak, Model K and Kodascope,
With these companion "K's"
venience, every movie making op
is yours. Telephoto, Kodacolor, vs
Cine-Kodak, Model K
Half-speed at the press of a button doubles the
exposure time. F. 3.5, f.i.g, wide angle, and
telephoto lenses instantly interchangeable.
Winding crank permanently attached, always
ready for use. Dependable motor obviates any
chance of starting failures. Two finders, waist-
height and eye-level. Plenty of finger room for
quick and easy film loading. Automatic footage
indicator registers amount of unexposed film.
Finished in black, blue, or brown genuine
leather with carrying case to match. Price
with f.1.9 lens, $150; with f. 3. 5, $110 —
carrying case included.
Kodascope, Model K
Improved optical system results in maximum
screen brilliance. New type fan prevents over-
heating even after hours of running. Recepta-
cle for plugging in room lamp. When Kodascope
lamp switch is on, the room light is off. Rewind
lever automatically disengages when projector
is started. Lens mount permits interchanging
lenses of various focal lengths. Illuminated am-
meter supplied as standard equipment. Hinged
door on lamphouse for easy cleaning of lamp
and condenser. Central oiling point for most of
the important bearings. Price, complete, $175;
without carrying case, $160.
0
EASTMAN
MOVIE MAKERS
491
zttlfyl/wv&L . . .
t Eastman equipment has everything you need to
arpest, most versatile movie results, indoors or out
nary
foot
bril-
i the
]ine-
:1K.
con-
tiity,
ngle
shots, indoor scenes as well as outdoor ... all
become a part of your movie repertoire.
The lens mount on Cine-Kodak K provides
for instant interchangeability of lenses. From
/.3.5 to/.1.9 to telephoto or wide angle lens
is but a matter of seconds. Other noteworthy
features of this amazingly versatile camera
include a built-in winding crank, exposure
guide, automatic footage indicator, and two
Ready for Easy Indoor Shots
IOAD up with Cine-Kodak Super- sensitive
* Panchromatic Film and make brilliant,
sparkling movies indoors as well as out.
At least three times faster than regular Pan-
chromatic Film when used with artificial light,
Cine-Kodak Super-sensitive Film has all the
speed you need to get the shots you want.
Handy 35 cent Mazda Photoflood lamps will
furnish ample illumination.
Put your camera on 24-hour duty with
Cine-Kodak Super-sensitive Film.
(waist-height and eye-level) finders.
In the projection of your finished films
with Kodascope K, the extra illumination,
readily accessible controls, and improved
cooling system, assure theater-like brilliance,
smoother, more convenient operation.
Ask your Cine-Kodak dealer to show you
the superior qualities, the distinctive features
of these companion "K's."
!\
• ^ BROKEN. J
Qtwer-sensitfc
t* * PANCHROMATIC
Safety Film
,/^kSdak company
EASTMArNcKODA
Trade Marie
Cine-Kodak Super-sensitive Panchromatic Film is twice
as fast as Cine-Kodak "Pan" in daylight, three times as
fast under artificial light. $7.50 for 100 feet; $4 for
5 o feet, including processing.
For shots like this, replace your regular lamps with one or more {depending on
the lens speed of your camera) 3 5 cent Mazda Photoflood lamps, load up with
Cine-Kodak Super-sensitive Film — and shoot. Home movies tnade right in the
home — the most important shots you can make — are as simple as that!
ODAK COMPANY, Rochester, New York
490 NOVEMBER 1932
/In r ' . / /
NOVEMBER 1932
MOVIE MAKERS
ytllJet ^JiettlrJl/lmkL . . .
Cine-Kodak, Model K
Half-speed at the press of a button doubles the
exposure time. F.3.5,/1.9, wide angle, and
telephoto tenses instantly interchangeable.
Winding < rani permanently attached, always
ready for use. Dependable motor obviates any
chance of starting failures. Twofinders, waist-
height unci eye-level. Plenty of finger room for
quick and easyfilm lauding. Automatic footage
indicator registers amount of unexposed film.
Finished in black, blue, or brown genuine
leather with currying case to mutch. Price
with f.i.i) lens, Sis<>: with f-i-i, Silo —
currying case included.
Kodascope, Model K
Improved optical system results in maximum
screen brilliance. NetV type tail prevents over-
heating even utter hours of running. Recepta-
cle/or plugging in mom lump. II ben Koduscope
lump nvitl It is on. the mom light is off. Rewind
lever automatically disengages when projector
is started. I ens mount permits interchanging
lenses oj various foi al lengths. Illuminated am-
meter supplied us stauda rdt quipment. I tinged
door on lamphoHse for easy cleaning of lump
anil tomlenser ( entrul oiling point for most of
the important bearings. Price, complete, S 1 7 5;
without carrying case, $160,
This finest Eastman equipment has everything you need to
get the sharpest, most versatile movie results, indoors or out
DIFFICULT shots become easy. Ordinary
shots assume new qualities. Every foot
of film flashes on your screen with added bril-
liance. These are the results you get with the
star members of the Eastman line— Cine-
Kodak, Model K and Kodascope, Model K.
With these companion "K's" every con-
venience, every movie making opportunity,
is yours. Telephoto, Kodacolor, wide angle
shots, indoor scenes as well as outdoor. . . all
become a part of your movie repertoire.
The lens mount on Cine-Kodak K provides
for instant interchangeability of lenses. From
/.3.5 tof.1.9 to telephoto or wide angle lens
is but a matter of seconds. Other noteworthy
features of this amazingly versatile camera
include a built-in winding crank, exposure
guide, automatic footage indicator, and two
Ready for Easy Indoor Shots
LOAD up with Cine-Kodak Super-sensitive
1 Panchromatic Film and make brilliant,
sparkling movies indoors as well as out.
At least three times faster than regular Pan-
chromatic Film when used with artificial light,
Cine-Kodak Super-sensitive Film has all the
speed you need to get the shots you want.
Handy 35 cent Mazda Photoflood lamps will
furnish ample illumination.
Put your camera on 24-hour duty with
Cine-Kodak Super-sensitive Film.
(waist-height and eye-level) finders.
In the projection of your finished films
with Kodascope K, the extra illumination,
readily accessible controls, and improved
cooling system, assure theater-like brilliance,
smoother, more convenient operation.
Ask your Cine-Kodak dealer to show you
the superior qualities, the distinctive features
of these companion "K's."
CinS W «odak
U * p4NCHR0MATIC
Safety FU»
M.dc in II S -A £y Mp AIsjY
.-«--£■
Cine-Kodak Super-sensitive Panchromatic Film is twice
as fast as Cine-Kodak "Pan" in daylight, three times as
fust under artificial light. $7-50 for 100 feet; %\for
So feet, including processing.
For shots like this, replace your regular lamps with one or more (depending on
the lens speed of your camera) 3 5 cent Mania Photoflood lamps, loud up with
Cine-Kodak Super-sensitive Film— and shoot. Home movies made right in the
home — the most important shots you can make — are as simple al thul!
EASTMAN KODAK COMPANY, Rochester, New York
492
A film party
D. C. McGIEHAN, ACL
VERY likely, at one time or another, it has occurred to
every amateur movie maker that he might have a lot
of fun by making a photoplay with the help of his
friends. A great many of us have done it more or less in a
serious vein, but those who are not devoted to movie making
as an avocation and merely use their cameras for taking pic-
tures of their children, etc., probably have not realized that a
group of adults can spend a very enjoyable evening in this
manner. Possibly, we should say two evenings, since there is
not only taking the picture to be considered but showing it as
well. The screening for the group is as good fun as the taking.
In practically every
community or location
where human beings get
together, there is the
weekly or biweekly eve-
ning of bridge. This
seems to be the thing to
do and probably the first
thought of method of
entertaining. It is, of
course, enjoyable but
too much is too much
and one can quite readi-
ly relieve the monotony
of bridge party after
bridge party by enter-
taining the bridge club
at a movie party some
night. The writer pro-
ceeded as follows.
Desiring to set the
atmosphere, I had a rub-
ber stamp made bearing
the words, Pathetic Pic-
tures, Inc. With this im-
printed on white paper
as a letter head, I wrote
invitations to about four
couples. The invitation
was written in the form
of a business letter, sup-
posedly coming from
this abstract motion pic-
ture producing com-
pany, to the effect that,
the screen tests of the
individual having proved pedicular, he was requested to
report at the studio (my home) on such and such an evening
at such and such a time to take part in a feature production
of the company which feature picture production, in our case,
was called, Why Be A Wallflower? I prepared a more or less
detailed scenario, making carbon copies for each person.
Such a scenario can be based on any small, straightforward,
humorous situation. I chose the case of a young man, sup-
posedly new to the community, being entertained in that
community for the first time at a little social gathering for
dancing, etc. He was supposed to be attractive and the girls
interested in meeting him. Having arrived at the party and
the dancing having started, it was learned that he was a poor
dancer, as he stepped on the toes of several of his partners
during the first few dances. There was a dressing room scene
in which this information was imparted from partner to
partner and he was boycotted, as far as dancing was con-
cerned. Upon being refused for a dance several times, he
How bridge players
found new interest
through photoplay
Airedale provides
eonine burlesque
of famous symbol
grew disgusted, sat
down in an easy chair,
picked up a magazine
and, after reading a few
minutes, became inter-
ested in an advertise-
ment. A closeup of this
showed it to be an adver-
tisement of a popular dancing school. A couple of outdoor
scenes that were taken at a later date showed him approach-
ing and entering this school, the interior of which was photo-
graphed in my
home. After sever-
al lessons, the pic-
ture jumped to a
later date and an-
other party where
he danced per-
fectly and became
the lion of the
evening.
In preparation
for the arrival of
our guests, I
painted a placard,
which was hung
on the front door,
announcing that
it was the studio
of Pathetic Pic-
tures. I dug out all
my lighting equip-
ment, had it all
prepared, had the
furniture arranged
so that it would
serve for the inte-
rior scenes, had
the camera set up
on a tripod and,
in other words,
made the place
look as much like
a movie studio as
possible. All nec-
essary signs to in-
dicate that certain
scenes were the interior of the dancing school, etc., were pre-
pared beforehand. Current advertisements furnished ideas.
The guests arrived very much interested in what was going
to happen. Having chosen the cast previously, we immediately
supplied each member of it with a copy of the scenario, asking
him to read it over to get the general idea of the story. We then
turned on the lights and went to it. Of course, the regular type
five hundred or one thousand watt bulbs in their stands and
their reflectors gave more of a studio appearance but, at the
same time, if you do not happen to have such equipment, the
new Photofloods rigged up in floor lamp fixtures or side wall
brackets would do very well if enough are used. The scenario
had been kept short enough so that the whole story would
require from one to two hundred feet of film. We being
properly organized, as above indicated, this was run off in the
one evening with the exception of the few exterior shots made
a few days later. These shots involved only one of the cast
and hence were not inconvenient to film after the party.
MOVIE MAKERS
493
The guests, having been served with
proper refreshments beforehand, lost
their selfconsciousness and heartily en-
joyed the evening, since it is more or
less of an inborn human trait to want to
express oneself through acting.
The various shots having been taken,
the next job was to take the titles, which
occupied only one evening, and then to
splice the thing together. Incidentally,
for a humorous main title we aped the
M. G. M. lion by securing a large piece
of cardboard, cutting a circular hole in
it and lettering around the circle, A
Production of Pathetic Pictures, Inc.
We then got our airedale dog to stick
his head through the hole and look hun-
gry while I exposed about six or eight
feet of film.
The whole thing put together had
good continuity and made a reasonably
clever and quite humorous little picture.
Of course, the usual refreshments fol-
lowed the hard labor of this picture
making on the first evening. When it
came around to our turn to entertain
again, everyone was so anxious to see
the picture that he could hardly wait
to get through a few bridge hands first.
They were all agreeably surprised and
evidently much pleased with their sev-
eral efforts, voting the idea as a very
welcome diversion from the usual, more
or less formal, cut and dried method of
entertaining.
Why not try out something similar on
your gang some night?
Short but perfect
[Continued from page 477]
football plays. Not all of them would
make good scenes, of course, and know-
ing a little football, it would be quite
possible to predict the spectacular ones
by observing the formation of the play-
ers. As a matter of fact, we knew just
what some of the plays were going to
be. How we knew involves a little story
which might be told here.
This game was the biggest one of the
year for sunny California (adv.), the
annual fracas between the University
of California and Stanford. We called
on "Pop" Warner, the Stanford coach,
one day to ask him if we could take
movies of his boys practicing. After
convincing him that we were not work-
ing for U. S. C. or Cal, we were told
that he would buy all our film if we
would take some slow motion pictures
of his team in practice. "Nothing artis-
tic, you know," he went on, "just some
slow motion of the plays taken with a
telescope from the top of the stadium."
That's how we learned the plays and,
needless to say, we got some copies of
the better scenes to splice in with our
own football pictures. "Pop" used the
film to good advantage. I can remember
showing it to the team one evening
while "Pop" sat back in his chair and
commented on the plays. "What are you
doing way over there, Rothert? And
now look where you're going! This was
supposed to be a reverse! Run that
scene over again, will you?"
Well, to get back to our discussion
at the top of the stadium, Bill got out
another envelope and we listed some of
the points to remember about taking
football plays. Here they are:
1. Get most of the scenes in the first
half. The light on the field is bad
after 4:30.
2. Start the camera early in the play
and carry the scene all the way
through. (Nothing is so tantaliz-
ing as to see a play begin in the
middle and have to wonder how
the players got there, unless it is
to see a play start and then have
the scene end while the halfback
is running down the field with the
ball.)
3. Passes and punts make better
scenes than straight line plays,
and a wide open formation usually
means one or the other.
4. Use the three inch lens on most of
the plays. (It will include all the
players very nicely.)
5. Be sure to get, at least, scenes of
players entering, the kick off, one
pass, one punt, one touchdown, one
in slow motion and the players
leaving the field.
The game ended and our footage
meter showed that we still had twelve
feet to go. The cover of the football pro-
gram made a nice opening title and we
closed with our last scoreboard shot.
With the remaining eight feet and
seventy five cents, we took an airplane
view of the full stadium. It was quite
simple. The seventy five cents was ex-
pended for a large airplane view of the
game and, placing the picture in good
light, Bill held the camera in his hand,
carefully focused the lens and then
swung the camera slowly through a
forty five degree arc. The effect was
good and, although the scene wobbled
a bit, someone asked us afterwards if
we got air sick.
Fifty yards of film, and all the
glamour of the day wound up on a tin
reel!
Closeup of a football may
be made on the home lawn
William A. Palmer
Fine
Still Cameras for
the Movie Maker
KODAK
RECOMARS
18 and 33
THESE new Continental Kodaks
from Eastman's German factory
are adaptable to film packs, cut film,
and plates — hence permit the use of
panchromatic and other extremely
sensitive negative materials.
The fine /.4-5 anastigmat lenses
and Compur shutters of these preci-
sion instruments assure you of ex-
ceptionally sharp contact prints and
beautiful enlargements with which
to supplement your movie making.
And auxiliary long-focus and wide-
angle lenses are available at moder-
ate cost.
Kodak Recomar 18 takes 21/4x3%
in. film packs, 61/-; x 9 cm. plates, or
2% x 31/o in. cut film; costs but $40.
Kodak Recomar 33 takes 3^ x 4%
in. or 9 x 1 2 cm. film packs, 9x12
cm. plates or cut film; costs
OTHER DETAILS: Eight shutter speeds
from 1 to V250 second on the " 1 8 ", to %oo
second on the "33", besides bulb and
time; built-in self timer; lens openings
fromy.4.5 toy.32; cable and finger release;
wire-frame, direct-view finder — also bril-
liant reflecting type with spirit level;
ground glass focusing back; double exten-
sion bellows; light, strong metal body,
covered with pin-grain morocco leather.
EASTMAN KODAK COMPANY
ROCHESTER, NEW YORK
494
NOVEMBER 1932
PATHEGRAMS
NEW 16mm. RELEASES
(ON 100 FT. REELS)
Our Gang
COMEDIES
Breaking Into the Movies No. 7089
Some Pirates " 7090
The Barber Shop " 7091
Making Their First Movies. . " 7092
AESOP'S FABLES
Good Old School Days No. 7093
Haunted Ship " 7094
African Jungle Hunt ..... " 7095
Deep Sea Divers " 7096
GRANTLAND
RICE
SPORTLIGHTS
Frolics of Frost No. 7097
River Drivers " 7098
Lion Athletics " 7099
Modern Mermaids " 7100
Also 19 new 400 ft. silent releases
comprising Our Gangs, Aesop's Fables,
Crantland Rice Sportlights, etc.
FREDERIC L CERKE
45 West 45th St. New York, N. Y.
Slowing down your camera
W. C. BENNETT, Jr.
IF THE speed of a movie camera is
reduced, two results will follow.
Each frame will receive a longer ex-
posure and the action of the subject on
the screen will be speeded up. Many
cameras operate at the speed of eight
frames a second if desired; this in-
creases the apparent speed of the sub-
ject on the screen so that it seems to
move twice as fast. Also, the exposure
given to each frame at half speed would
be equivalent to that gained by open-
ing the lens one stop over that used at
normal speed. But it will be seen that,
if the speed of the camera, or picture
rate a second, could be decreased even
more, results, very useful in filming
certain subjects, could be obtained. For
instance, in the case of subjects in a
dim light and in the case of time mo-
tion studies, the motion on the screen
might be profitably speeded up to a
rate more than twice normal. A device
which will slow down the movie camera
speed, and which will also insure an
even rate of motion at the slower speed,
may be made by employing an auxiliary
friction governor taken from the
mechanism of an old phonograph mo-
tor. This may be done, as shown in this
instance, with any 16mm. or 35mm.
movie camera, providing the camera
has a revolving, external shaft connect-
ed to the mechanism, such as that used
to connect to the cranking handle. It is
by means of this shaft that the aux-
iliary, external governor is connected
to the mechanism.
In the example illustrated, only
enough of the phonograph motor
frame to hold the governor together
was retained. The rest was cut off with
a hack saw. The governor was then
mounted on a piece of one quarter inch
bakelite through which a hole had been
cut to allow enough clearance for the
balls of the governor to revolve freely.
This is shown in figure 1.
Figure 1.
The lower part of the governor drive
shaft was cut off and a piece of brass
tubing fitted over the stub to act as a
collar to engage the governor with the
crank shaft of the camera. After the
Figure 2.
proper length of this collar was deter-
mined, a pin was set crosswise through
it to fit in the notch of the camera shaft
so as to engage in the same way as the
regular cranking shaft.
The regulating arm of the governor
was bent around in the form of a "U"
and so arranged that the free end rest-
ed on a knurled thumb screw attached
to the bakelite panel. Turning this
screw up or down regulates the speed
of the governor, which in turn regulates
Figure 3.
the speed of the camera exposure. The
settings of this screw can easily be cali-
brated by timing with a stop watch the
footage run at different settings. This
may be seen under the index finger of
the hand in figure 2.
A heavier piece of bakelite was bolt-
ed to the top of the back of this appa-
ratus to provide a shoulder that would
rest on the top of the camera, to sup-
port its weight and keep it from revolv-
ing with the shaft.
To make the auxiliary governor
quickly detachable, a piece of watch
spring was bent in the form of a hook
and notched so that it could be slipped
under the head of a convenient camera
screw. The rib in the side of this par-
ticular make of camera held the spring
in place when the screw was tightened.
This spring merely kept the governor
from falling off; the heavy bakelite
shoulder took all the strain from the
MOVIE MAKERS
camera motor. A side view of the gov-
ernor mounted on the camera, complete,
is shown in figure 3.
When the governor brake is fully re-
leased, the camera will run at normal
speed and any desired slower speed,
down to one or two frames a second.
can easily be attained by setting the
knurled thumb screw to suit. With a
strong camera motor and a well adjust-
ed governor, exposures of even two or
three seconds a frame are possible. The
camera must, of course, be used on a
tripod for the longer exposures.
The family problem
[Continued from page 478]
handling the picture of the banker's
group to avoid the stilted features.
This short tale is designed to be
filmed in about 75 feet. The introduc-
tory money bags cartoon title would be
lettered, Treasures on earth. It would
open with the banker reading a news-
paper, sitting on a porch. He lowers
the newspaper and smiles at the cam-
era. (The camera should be about ten
feet away from the action and four feet
of this scene should be taken.) Then
follows a closeup view of the financial
page of the newspaper the banker has
been reading. (The camera should be
about three feet away, the paper should
be well lighted and held very steady
so that the financial page will be clear-
ly seen. (Take two feet of this scene.)
The next scene shows the family at
the breakfast table. This may well be
set up on the porch or even in the yard,
in order to get plenty of light. (The
camera should be about fifteen feet
away so that the whole table will be in
the finder. The camera moves slowly
around the table, pausing to register
each member of the family. None of
them should look at the camera, but all
should keep their faces toward the cam-
era as they move or speak. The camera
stops at the banker. About five feet of
this scene should be taken. ) In the next
scene the banker picks up an orange,
looks at it and nods his head, smiling
with satisfaction. (The camera dis-
tance is about ten feet and two feet of
this scene are taken.) Then follows a
closeup shot showing the orange in the
banker's hand. He turns the orange so
that lettering may be seen on it read-
ing Price Five Cents. He starts to peel
the orange. (The camera should be
from three to five feet away and the
orange must be held in brilliant light.
The lettering should be done with
lampblack in order that it will not glit-
ter on the screen, but will appear to be
dead black. This closeup scene should
run four feet. Nothing but the hands
and the orange should be photographed.
The orange must be held steady for a
long enough time that the lettering may
be read, at least three seconds.) In the
30 years ago
the stiffly posed portraits of Uncle Hiram, his face surrounded
by a mass of hirsute vegetation, Aunt Hepzibah in her well
padded armor and little jane in pinafore and braids were
placed for preservation in the secure, staunch and padlocked
family album. But in spite of the utmost precaution, these
interesting memories of the family dimmed and faded and, in
time, Uncle Hiram's beard became a mere reflection of its
former glory . . . Life's golden moments, as depicted on 1 6mm.
film, are capable and worthy of a preservation which the old
family album never afforded . . . Subjected to quick changes
of temperature or insufficient humidity, film will dry out — will
lose its pliability and freshness
—will become brittle and crack
. . Preserve these sparkling
memories of your children's
happy play, of jolly hours at
sports and games in FILMADOR
which conserves the moisture
con tent of your film, preserves its
pliability and protects it against
sudden changes of temperature.
Filmador is a scientifically con-
structed film humidor, consist-
ing of two heavy aluminum
containers, one within the other,
with a half-inch dead air space
in between. The inner con-
, tainer is humidified and
accommodates three 400-
foot reels of 16mm. film.
Price
$5.00
FILMADOR
THE THERMO-HUMIDOR FILM SAFE
Distributed by
BELL & HOWELL CO.
1843 Larchmont Ave., Chicago, 111.
496
NOVEMBER 1932
Improve
Your
Home
Movies
with
BIOPHOR
Projection
LENSES
Bausch & Lomb's new Biophors are highly
corrected projection lenses for 16mm. film.
The screen images show brighter, clearer, with
penetrating detail. Designed to fit most
standard projectors.
Biophors in seven focal lengths permit pic-
ture widths of 1 foot up to 11 feet or more;
or a projection distance of 3 feet to 100 feet
and beyond.
Send for descriptive illustrated folder or
ask your dealer about the new Biophors. You'll
be amazed at the big improvement.
BAUSCH & LOMB
OPTICAL COMPANY
679 St. Paul St. Rochester, N. Y.
BARGAINS
slightly used
and new
Movie Cameras and L
enses
3y4 inch Wollensak //3.3
Telephoto Lens (new) . . .
.$37.50
Cine-Kodak Model "M"
and Case (new)
48.00
1 inch Wollensak //4.5 Tele-
photo Lens (new)
33.50
Model "G" Filmo Projec-
tor, 200 watt (used)
. 69.50
35mm. DeVry Camera, //3.5
Wollensak Lens (used) . . .
69.50
2 inch Cooke //3.5 Tele-
photo Lens (used)
. 34.50
Model 3 Victor Camera
with //1.5 Wollensak
Lens (used)
67.50
Combination Rewinder and
Splicer (used)
9.50
35mm. Institute Camera,
//3.5 Goerz Lens (used) .
49.50
Sold on Ten Days' Trial or
Money
Back. Ask for our Bargain
Book.
CENTRAL CAMERA CO.
230 S. Wabash Ave., Dept. MM-11F
Chicago, III.
next scene, the banker's wife hands a
plate to one of the children who passes
it to the father, the camera following
the movement if necessary. (The cam-
era is set from ten to fifteen feet away
so that all of the action will be in the
finder. This scene should run four feet.)
Next, a closeup view shows the plate
and the egg. The banker's hand takes
up the egg, turns it over and one reads,
lettered on the egg, Price Three Cents.
The banker breaks egg on edge of egg
cup. (The camera is set at from three
to five feet and this scene should run
four feet. Observe the same caution
about lettering and keeping egg still
long enough for lettering to be read.)
In this connection, it would be well to
experiment, in advance, with a closeup
of the lettered orange and egg to see
whether normal sized articles will
make the lettering readable with the
particular lens that is used. It is pos-
sible to get large rubber oranges and
rubber eggs from toy stores or, from
candy stores, one may get large candy
oranges and eggs. If the oversized ar-
ticles are used, there should be a sep-
arate closeup of the articles only to
show the lettering, and the hands should
not appear in these closeups at all. Nor-
mal sized orange and egg would be
used for the peeling and breaking ac-
tion. If oversized articles are used, the
footage must be increased to enable
special closeup views to be taken.
In the next scene, the banker takes
a pencil from his pocket and signs a
paper which his wife gives him and
which he gives back to her. He nods
and smiles. (The camera is set at about
ten feet away and this scene runs three
feet.) Next comes a closeup view of the
paper on which one reads, / owe for one
breakfast — family rate — fifty cents, and
signed by the initials of the banker.
(This can be a regular title on a title
card and can be made after the film is
completed.) In the next scene, the
banker kisses his wife and walks out of
the scene. (Camera is set about ten feet
from the action and scene runs four
feet, possibly less.)
The next scene is in late afternoon.
The family is gathered on the front
porch. One of the children waves his
hand. The wife, who has been sewing,
looks up, waves her hand and smiles.
All go down toward the front gate.
(Camera is about thirty feet away and
follows the movement toward the gate,
if this is necessary. This runs about five
feet.) In the next scene the banker is
seen on the walk coming toward his
front gate. He stops to look at a tree or
flower. (Camera is about fifty feet away
and scene runs three feet.) The banker
pulls a handkerchief out of his pocket
and a sheaf of bills falls out on the
walk, but he does not notice that they
fall. One of the children picks up the
bills and hands them to him. (The cam-
era is set up behind the banker and
about ten to fifteen feet away. This
scene runs four feet.) The banker takes
the bills, pats the child on the head,
counts out one or two bills and takes
some change from his pocket, which he
carefully counts over, and hands the
bill and change to the child, with a
smile. (Camera is set up ten feet away,
in order to record all the action clearly.
This scene runs from five to eight feet
and is climaxed by a title — which can
be prepared later — reading, Remember,
son, the legal rate is six percent, after
which the child is seen to jump up and
down with joy.)
The last scene shows the banker at
night, sitting near the radio on the top
of which is a clock, large enough so
that the dial may be seen to show 10:30.
His wife sits opposite, nodding in her
chair. The banker is listening with rapt
attention to the radio. (The camera is
set up about fifteen feet or twenty feet
away to take in the whole scene. This
should run about five feet and the bank-
er should provide the action by nodding,
turning the radio dials, etc.) A title
(to be made later ) is inserted reading,
And so Mr. Hardcash concludes his
daily investors talk over XCG. The
banker rises, yawns, winds clock, goes
over and gently shakes his wife's shoul-
der. She starts, wakens and rises. They
go toward the door arm in arm, or his
arm around her waist. They stop. He
kisses her and both yawn afterward.
They move slowly toward the door and,
as they go out, the banker's hand clips
off the lights. (Camera is set about
fifteen to twenty feet away and this
scene uses about six feet of film.)
Winter additions
[Continued from page 479]
Appropriate backgrounds for the
titles can either be set up on the table
top and photographed with a still cam-
era or double exposed with the movie
camera. Excellent methods of titling
technique have been explained in nu-
merous articles published in previous
numbers of Movie Makers. Properties
used in the picture action can be posed
in still life studies for title backgrounds
in endless variety. Photographs, post-
cards, roto cuts, line drawings or cuts in
keeping with the subject are usually
easy to obtain.
Where is especially important in
travel and vacation films, for the aver-
age person's geographical knowledge is
sometimes limited. One may use maps
and liven them with snappy animation
of a moving car, train, boat or plane as
the case may require. Outline maps can
be purchased but, usually, even these
are too slender in their lines and the
salient features and locations must be
reinforced by heavy lining with India
ink. Maps suitable for reproduction can
MOVIE MAKERS
497
be made in a few minutes by laying a
piece of tracing paper over an ordinary
map and tracing the principal bounda-
ries with a ball pointed pen or a let-
tering brush. If the location is a distant
one, two or three maps in succession,
each on a larger scale, may be used.
The first of the series must include
enough territory to show both here and
there. A rectangle inscribed about there
indicates the space covered on the large
scale map following. If this second map
does not show the visited place on a
large enough plan, a third may be
needed to orient the featured scenes of
the picture.
For instance, a New Yorker makes
Tuna Fishing In Lower California. The
first map shows the United States and
Mexico and includes a small rectangle
surrounding San Diego and Lower Cali-
fornia. A train quickly spans the conti-
nent to San Diego along his travel route,
then an enlarged map appears showing
San Diego and Lower California. On
this map is another rectangle covering
the extent of the fishing grounds off
Lower California. If embarkation took
place at San Diego, these scenes may
be shown before cutting to the large
scale map of the fishing grounds. The
large scale map might be a pictorial
one showing Record tuna here, Sting
ray, etc., thus locating catches included
in the film.
Now for why, the fifth cardinal point,
but the most important. Usually the
reason for a picture is its interest for
the spectator. Continuing with the ex-
ample of the New Yorker's tuna fishing
expedition, he finds on his return home
that he has paid more attention to fish-
ing than picture taking and that the
picture would be much improved with
added scenes and closeups. If another
camera enthusiast accompanied him, he
is in luck. Duplicate film strips can be
made and exchanged, complementing
the deficiencies of each picture. If there
was no other movie maker on the trip,
the gaps in continuity may be filled in
by "faking" closeups against the neu-
tral backgrounds.
Missing details of tackle, bait and
gear yield wonderful close views that
may be spliced in at the proper place
in the reel. They will vastly increase
the interest of the picture without the
spectator having a suspicion that the
distant scene was taken three thousand
miles away from its accompanying
closeup.
Flash inserts of illustrations of speci-
mens of the kinds of fish encountered
can be copied from travel magazines
and piscatorial books. Souvenirs and
trophies brought back from the expe-
dition may be worked into additional
scenes. A commercial film of old Mexico
may yield pictures of native types that
are as true to the locale of the picture
as any the filmer might have taken,
himself, but failed to do.
EVERYTHING* YOU WANT IN AN
EDITOR... AT A NEW LOW PRICE
Improved Design and Operation
^\ actual motion as on screen —
easier viewing with magnified picture
— continuous running film ... no claw
action — no loops . . . simplified load-
ing— easier, better splicing — reverse
action — compact, with sturdy, rubber-
cushioned base — portable . . . viewing
lamp plugs in anywhere — 3 -tone, dull
silver, chromium trim and black
crackle finish.
Anyone can successfully use the
Rhamstine* Film Editor. It is so sim-
ple that it almost loads itself. A strong
covered light bulb, concentrated on
the film, illum-
inates the mag-
nified picture
with clear de-
tail. It also pro-
vides easier
viewing in a
natural, un-
strained posi-
tion. Every-
thing needed
for splicing is
right on the
same operating
table as the viewing tube. Cement and
water bottles are handily located in a
swinging holder just below it. The
Rhamstine* splicer, compact and sim-
ple, is exceptionally efficient. Com-
plete rubber cushioning of the base
makes it possible to use the Rhamstine*
Editor anywhere without fear of dam-
age to furniture surfaces.
The efficiency and simplicity of oper-
ation are matched by the beautiful 3-
tone finish — it will make a wonderful
Christmas gift!
The Rhamstine::' Film Editor comes
to you complete including viewing
tube, light bulb and cord, steel scraper
and cement and water bottles, at a new
low price for a quality unit, «s a w
of only VfO
See it at your dealer's.
Splicer sold separately with scraper,
cement and water bottles, mounted on a
beautifully finished 694" x 5i/z" wooden
base for #4.50.
J. THOS. RHAMSTI1VE*
Manufacturer of ELECTROPHOT photoelectric Exposure Meter
501 EAST WOODBRIDGE STREET, DETROIT, MICHIGAN
498
NOVEMBER 1932
FOOTBALL
The most spectacular
College Sport
The recent exceptional increase in
the demand for our printed titles is
in itself a proof of their desirability.
Increase the interest value and at-
tractiveness of your films with some
of these professional titles. A
marked heightening of attention on
the part of your audience is sure to
follow.
Price — 25c for 8 words or less, over
8 words 3c per word.
Write for illustrated circular.
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave., New York, N.Y.
IDTEH8,
WITH ANY CAMERA
w yrpiucc fteonKqbl Jod Niqb) Effects in DayHnra-
FvjSctnvs- Diffusa 3 Ivtus and many vita efforts.
Ask your dealer, or write to
GEORGE H. SCHEIBE
ORIGINATOR OF EFFECT FILTERS
SWAP YOUR 16mm. SILENT or SOUND on DISC
LIBRARY FILMS with NAVILIO
The first to exchange films for the public, we
still provide a guarantee of quality.
W hen your present library films become tiresome,
Navilio will Exchange them for equal or better
films of the same length at the following rates:
f 75c per reel 1 to 10 reels
Silent -I 65c per reel 11 to 25 reels
(_ 55c per reel 26 to 50 reels
Sound on Disc — $3.50 per reel with disc.
SEND 10c FOR COMPLETE CATALOG
NAVILIO FILM RENTAL LIBRARY
TO MEMBERS— 5 to 9 reel feature $1.50 per
day — Send for membership blank.
NAVILIO TALKING and SOUND on-j DISC
RENTAL LIBRARY
Part of my list is
7 reels — "His Lucky Day" with Reginald Denny
8 reels — "See America Thirst" with Summerville
6 reels — "Night Ride" with John S. Robertson
8 reels — "The Drake Case" with Gladys Brockwell
9 reels — "Tonight at Twelve" with Madge Bellamy
8 reels — "The Wagon Master" with Ken Maynard
7 reels — "The Last Performance" with Conrad Veidt
Cartoons, Comedies, Sports, Travelogues, Adventure,
Educational and Features are now available.
FOR RENTAL ::: REASONABLE RATES
This service is available to users within 2000
miles from New York. Send 25c for catalog.
Amount will be refunded on receipt of first
rental.
J. NAVILIO FILM EXCHANGE
1757 Broadway, Brooklyn. N. Y.
The excitement of playing a big fish
can be built up tremendously with
closeups of the angler taken against a
sky background from the roof of the
apartment house, against a section of
Long Island Sound or in his apart-
ment against a well lighted piece of
white pasteboard. A boy or friend out-
side the range of the picture can hold
the end of the line and simulate the
struggles of the fish.
Baiting the hook, the whirr of the
reel, the sweat on the face and a dozen
other authentic details can be done bet-
ter back home than on the spur of the
moment on location!
Th
e clinic
[Continued from page 480]
one hundredth of a second, there was
developed the Kirby "Two-Eyed' cam-
era. This camera makes use of 16mm.
film as the recording medium and one
of its "eyes," or lenses, records the ac-
tual image of the racer crossing the fin-
ish line, while the other simultaneously
images a special chronometer dial on
the film. This dial is divided into three
parts and registers minutes, seconds
and hundredths of seconds. The record-
ing camera is started automatically at
the sound of the starter's gun and the
film, traveling at 128 frames a second,
records the finish of the race as well.
Inasmuch as the exact split second time
of any particular finish is photographed
on the film alongside the picture of the
event, a permanent and accurate record
of the race is secured.
Eastman Kodak Company
Kirby Camera's "double eye"
catches instant of finish
Projector aids ■ Interesting and
handy adaptations
for a well known projector have been
developed by William J. Grace, ACL.
To make the projector more flexible in
handling he has devised a tripod socket
which is fitted to the base of the ma-
chine. In this way he provides a means
of using any tripod as a stand for pro-
jection. A saving of time and space is
the result. A second addition is the
grouping of controls on the right side
of the projector. Two switches are
mounted on the side of the base, one
for the lamp and the other for the
motor. These provide refinements
found only in the more expensive types
of 16mm. projectors. Mr. Grace states
he will be glad to furnish details of
this, or other adaptations, to readers of
Movie Makers.
William J. Grace. ACL
Tripod mounted Kodascope
has motor and light control
Stunt of the month ■ The P1<,b
lem of us-
ing a tripod with a telephoto lens is
one of great importance when filming
a football game from the stands. Ordi-
nary types of tripods being out of the
question except in very favorable loca-
RUB8ER CRUTCH
FOOT
^BRASS TUBE
Diagram for. construction
of a home made unipod
tions, some makeshift becomes neces-
sary. The humble broomstick may be
called into action. Procure one about
three feet in length. Attach a cup
shaped, rubber crutch foot to one end
to prevent it from slipping. For the
other end, it is necessary to plan some
means to hold the camera firmly. A sim-
ple method of doing this is to get a
piece of brass tubing about three or
four inches long and of an inside diam-
eter which will slip snugly over the
stick. Cut a brass disc which will cover
one end. In the center of this disc drill
a hole and insert a bolt which has the
same thread as the tripod socket on
your camera. The head of this bolt
should be soldered to the disc and the
disc soldered over the end of the tube.
This forms a cap which may be placed
over the end of the stick and fastened,
to prevent it from turning, by one or
two small wood screws through holes
in the tube. A further refinement can
be had by fastening a crosspiece to the
broomstick at such a height that it may
be braced by the knees when the stick
is placed upright between them. It
should pass under the knees so that
part of the weight of the legs will rest
MOVIE MAKERS
on it. Thus, there will be had a rock
steady camera support which will not
take up any more room than does the
cameraman, himself, and will leave both
hands free to manipulate the camera.
A detachable "panoram" and tilting tri-
pod head may be secured and attached
to the upper end of the stick to provide
the complete "unipod". — Frederick G.
Beach. ACL.
Autumn situations
[Continued from page 482]
of the autumn films. When shooting
sunsets, use a filter but if a filter is not
available do not let that prevent you
from making the scene. Though sunsets
are highly colored, the play of light on
the clouds is primarily an intensity ef-
fect and can be satisfactorily filmed by
using the smallest stop — in other words,
correctly exposing for the high intensity
in the sky.
There is nothing so prominent in
November as the turkey. While hiking
in the country, endeavor to obtain a
shot of a live turkey strutting in the
barnyard. You can find a place for it in
your continuity of the Thanksgiving
dinner, especially so if you can inveigle
someone to chase the bird, hatchet in
hand. In making interiors during the
day, too often amateur movie makers
use daylight in conjunction with artifi-
cial lights. It is much better to pull
down the shades and work with the
artificial light exclusively because other-
wise it is difficult to balance the illumi-
nation. For interiors use the wider angle
lenses instead of trying to crowd every-
one into a small area. Do not forget in
filming the Thanksgiving meal that you
can be in the picture too if you use a
remote control.
The fall is the last chance this season
to make those shots in town that you
have been thinking of all summer. Try
for unusual viewpoints when shooting
familiar scenes and remember that at
different times of the day a given scene
will present an entirely different aspect.
Watch for sunlight and shadow to make
a commonplace shot more interesting.
In your journey to the office in the
morning you pass a hundred good pos-
sibilities for picture making. At lunch
time you see the same streets and build-
ings but during this period some scenes
are better while others are inferior.
Then at five o'clock you will find still
other viewpoints. With a little study
these familiar sights and places will re-
sult in some excellent pictures. Perhaps
the lunch time shots of the street can be
improved by using a haze filter to lend
more atmosphere. Or harsh contrasts
may be reduced advantageously by
using a soft focus lens or diffusion disc.
In narrow city streets, make use of the
wide angle lens. When shooting the tops
of modern office buildings, use the tele-
499
Perhaps
YOUR FILMS ARE BETTER
than You think!
That disappointing film of yours —
the one that shows on the screen
so dully gray and lifeless — may be
a finer, livelier picture than you
realize. Perhaps it would be vastly
improved if projected upon a
screen that gave it all the brilliance
that scientific design can achieve . .
TRY IT ON A SUPER
SCREEN
— and See the Difference
Da-Lite's superior imported glass bead
surface — plus mechanism that keeps pro-
jection surface wrinkle-free — does won-
ders in making pictures brighter, sharper.,
livelier and more interesting.
The DA- LITE 'Junior
A simple, inexpensive screen
for home use. The same fine
DA-LITE imported glass bead
surface as used in most ex-
pensive DA-LITE models and
in the world's finest movie pal-
aces. Clever support arm
holds it erect and smooth-
surfaced.
13x18", $3.00
22x30"
18x24", $4.00
$5.00
A DEALER NEAR YOU
will gladly project one of your
films onto a DA-LITE Screen
without obligation. Or write to
us for full particulars and ad-
dress of dealer nearest you if
you do not know him.
The DA-LITE
SCREEN CO., Inc.
2721 N. CRAWFORD AVE.
CHICAGO, ILLINOIS
The DA-LITE "Challenger"
A tripod-type screen that answers a de-
mand for easy portability, moderate cost,
and projection surface superiority. Care-
fully fitted metal key in slotted tri-
pod upright keeps screen in focus
and provides additional height ad-
justment. Folds into compact roller-
map-type case. Fine crackle brown
lacquer finish.
30x40", $20.00 36x48", $25.00
39x52", $30.00
The DA-LITE Model "F"
Moderately-priced, compact, table-
type screen for every use. Stands on
its own feet on any convenient table
or desk. Rear support bar holds
screen at proper height. Set up in a
moment — yet folds compactly for con-
venient carrying in sturdy, metal
map -type case with strong spring
roller action to instantly snap screen
into case where it is kept spotless
and wrinkle free.
22x30", $13.50
36x48", 18.00
45x60", 30.00
30x40", $16.00
39x52", 22.50
52x72", 40.00
See how compactly Model "F" folds
for carrying!
DA'LITE "Junior" is the biggest little screen Value!
500
NOVEMBER 1932
GOERZ
CINE LENSES
In times of "depression" and "bad
business," one should insist on get-
ting the utmost in value from his
purchases. The following commen-
datory letter speaks for itself:
"The film of the game last Sat-
urday arrived today. All the
shots taken with your 2 and 3-
inch lenses were much sharper
than the shots previously taken
with other lenses. The numbers
on all the players were very
distinct. This speaks very high-
ly for Goerz Lenses."
From our knowledge of many reac-
tions to Goerz Lenses, we know
that the above does not represent
an isolated case. May we make you
a Goerz booster?
Send for Booklet MM11.
C. P. Goerz American Optical Co.
317 East 34th Street
New York
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBEPAMMERGAU stage play-
RELIGIOUS -INSPIRING - EDUCATIONAL
5 REELS -2OO0 FT.-I6 MM.
(COMPLETE STORy ) Price (flSO.OO
BUy OR RENT FROM DEALER OR DIRECT FROM
HEMENWAY FILM CO
©
TITLES
"Y.'Vth's ' Complete editing and titling
IyestirjavI service. (16 mm. or stand
iftji atd.) Cinematography.
203 Professional Bldg. GLendaleOOll
DETROIT, MICH.
CLARK CINE-SERVICE
J'
~\
. . Fall Specials
pay 20% now; balance 6 mos.
For example:
Cine-Kodak Model M
f/3.5 lens (Reg.
$75) $49.50
Graf 3"-//4.5 Tele-
photo lens (Reg.
$55) 26.95
Hollywood Model
Peko Camera f/3.5
Lens, case 22.50
De Vry Model B Pro-
jector 2 00 Watt
Electric Motor and
Rewind (Reg. $48)24.50
. . . send for YOUR copy of
Cine News
a little bulletin filled with movie
facts and hints, issued by us
each month without cost.
Sherman Jpf lay & Co.
Kearny and Sutter Streets
San Francisco, Calif.
V
r
photo and, late in the day, use deep
yellow or red filters with "pan" film to
make the buildings stand out against a
dark sky. Great white puffs of clouds
filmed with a red filter for over correc-
tion will add to a shot of a building sil-
houetted against the sky. Earlier in the
day, use a somewhat lighter filter so
that the sky will be reproduced in its
correct value.
Amateur clubs
[Continued from page 481]
Sincere ■ 1° Greenwich, Conn., the
premiere screening has
been given The Immigrant, an unusu-
ally touching, one reel amateur film
story made during the summer months
by a production group working under
the direction of H. B. Vanderhoef, jr.,
ACL. Well planned in advance, the pic-
ture offers nice examples of effective
moving camera work and of the use of
symbolic closeups to heighten the
drama, as it tells the simple story of an
immigrant serving girl seeking a posi-
tion. Mr. Vanderhoef, jr., photographed
as well as directed the piece, while
leading parts were played by Mrs.
Philip Hofer, Katherine Thatcher, G.
M. Heckscher, jr., A. Hecksher, II, Jack
Thatcher and H. B. Vanderhoef.
Bergen COUnty ■ Officers for this
year in the Ber-
gen County Cine Club, at Englewood,
N. J., will be P. F. Capaldo, president;
Sherman MacGregory, ACL, vicepresi-
dent; Mark A. Borgatta, treasurer;
Helen Burke, secretary. Mr. Borgatta
serves also as chairman of the scenario
committee, with Lloyd Hughes chair-
man of membership and John H. Wood,
ACL, in charge of programs. At a recent
meeting, The Fall Of The House Of
Usher and Why Be A Wallflower? were
screened from the League Club Library.
Improvisation ■ That il'f an iU
wind which blows
nobody good is proved again in the ex-
perience of Elton Fox, director of Re-
ward, recently completed production of
the Greater Oakland Motion Picture
Club. A street crowd was needed for
the climactic scenes of a bank holdup
but, as the bank was in the business
section and the production set for Sun-
day morning, there just wasn't any
crowd on hand. In his own words, Mr.
Fox tells how he got one: "I hastened
to the Broadway of our fair city, greeted
two somewhat dilapidated gentlemen
and asked them would they like to make
two bits very easily. They unanimously
agreed and also recommended a friend
who was standing on an opposite corner.
This made a good beginning and, as
the trio followed me in the direction of
our bank location, I gathered in five
others, this time without reference to
the two bits. Well, to make a short story
shorter, my group increased as does the
snowball, so that by the time the bank
was reached all that was required was
a rehearsal and camera, action!" Thus
the production was finished, everybody
had a lot of fun and three tramps got
a quarter each. The Oakland club has
resumed dinner meetings for the winter
season, at the first of which there was
screened a seven reel travelog, West-
ward To Cathay, by C. P. Derolzheimer.
Manheim again ■ The Paramount
Movie Club, in
Manheim, Pa., has renewed its pro-
duction activities with work on The
Black Phantom, a mystery thriller
which will run 1000 feet, 35mm. Based
on a Frankenstein theme, the story was
written and will be directed and photo-
graphed by club president Richard
Litzenberger, ACL, with John Nilan
playing the phantom and other parts
played by Ruth Haldeman, Harold
Dunn, Mahlon Metzger and James and
Howard Litzenberger.
NeighborlineSS ■ At a late meet-
in g , the Rich-
mond (Calif.) Camera Club was host
to the members of the Greater Oakland
Motion Picture Club and the combined
group was addressed by Elton Fox on
the do's and don'ts of filming a scenario.
In appreciation, Mr. Fox was elected as
honorary director and photoplay ad-
viser to the Richmond club.
Candida elects ■ Officers for the
coming year of
the Candida Cinema Club, in East Bos-
ton, Mass., will be Joseph Marino, re-
elected president; Joseph C. Brimmer,
vicepresident; Maurice Saxon, treas-
urer. The Lugger, from the League
Club Library, was screened at a recent
meeting when three new members were
added to the roll.
British amateurs
Racing Car ■ The Manchester Film
Society is now in pro-
duction on An Amateur Ace, a film of
racing cars and racing drivers which
will be distinguished by the entire ab-
sence of conventional love interest, ac-
cording to the report of secretary Peter
Le Neve Foster, ACL. Unusual fidelity
will be lent to the film though the use
of a genuine racing car capable of a
speed in excess of 115 miles an hour, a
valuable property which has been made
available by H. L. Oilier, assistant cam-
eraman of the production. Doreen Dent
will play the leading feminine role, in
a difficult assignment. A burlesque of
the Cinderella theme, in which the play-
ers will wear modern dress, will follow
the completion of An Amateur Ace.
MOVIE MAKERS
The pumpkin will be replaced by a
grapefruit and the coach and four by a
rakish roadster. The prince will become
a newspaper magnate and will turn the
hunt for the wearer of the slipper into
a circulation stunt for his paper. In the
end, however, all ends happily in good
fairy tale style.
Screen best ■ Organized for the
promotion and appre-
ciation of the motion picture as an art
form, The Sub-Standard Film Society,
in London, plans for an active and in-
teresting year of programs. Notable
among the films already presented have
been Brighton and Conway Falls, by E.
V. Read; The Pool, a cinematic study
of that part of the Thames by S. Moir,
president of the society; a short holiday
film by B. Braun, club manager. Future
screenings will include Morocco, by
Rudolph Messel, and Afterwards, by
veterans of English amateur filming,
Terence Grenidge and Nora Pheil.
Newcastle ■ The Newcastle and
District A. C. A. has
resumed activities at a recent meeting
with the consideration of an unusually
comprehensive syllabus of the year's
programs, which will feature the screen-
ing of two club films lately completed
as well as the outstanding productions
of other British societies. It is hoped
that American amateur work may also
be included in the circuit. Although a
number of new members have been en-
rolled this fall, the society will welcome
applications, which should be made to
the secretary, H. Wood, in care of the
Club department of the League.
City film ■ Working under the di-
rection of Norman Wil-
son and Forsyth Hardy, the Edinburgh
Film Guild is nearing completion in the
production of a documentary film of
the city. A spoken commentary will be
added to enhance the historical points
of interest. Mr. Hardy, film critic of the
Scotsman, serves the Guild as vicepresi-
dent, with A. E. Haswell Miller as
president, F. C. P. Maclauchlan, treas-
urer, J. C. H. Dunlop, films secretary,
and Mr. Wilson, honorary secretary.
Store show ■ In collaboration with a
large local store, the
Bournemouth Film Club has just con-
cluded a week's exhibition of amateur
cinematography, at which there were
presented the club's owns films, Retri-
bution, The Broken Swastika and
Where Bournemouth Dances, as well as
outstanding productions from other
English societies. At an earlier gather-
ing, Alec W. Buckmaster and R. G.
Torrens reported to their group on the
inaugural meeting in London of the
British Association of Amateur Cine-
matographers.
501
DISCOVERED
....adubeaidta
FEATURES
1. For both cine and stills.
2. For any film or plate.
3. Always ready for use.
4. No adjustments.
5. No batteries.
6. Nothing to wear out or replace.
7. For any reasonable photographic
light.
It. Unaffected by temperature, weather
or climate.
9. Not damaged by direct sunlight.
$OQ ~JK Complete with
Ov.lJ leather carrying
case and shoulder strap, in
the United States.
Hundreds of photographers— bothcom-
mercial and amateur — are acclaiming
the new Weston Universal Exposure
Meters. They're buying them. They're using them.
They're discovering what a big help the Weston Uni-
versal Exposure Meter is to better photography. Saves
them film . . . and even more important, they get a
correctly exposed shot every time.
Eliminating guess work, the Weston Universal Ex-
posure Meter measures* the brightness reflected by the
subject or scene . . . translates it into the correct com-
binations of/, stop and shutter speed for any film or
plate speed.
Simple, easy to use, always reliable — the Weston Uni-
versal Exposure Meter is scientifically designed . . .
made by the world's foremost manufacturer of fine
electrical instruments. It is one of the greatest aids
ever offered to better photography.
"The famous Weston Photronic photoelectric
Cells, used in WeBton Exposure Meters, trans-
form light directly into electricity.
WESTON UNIVERSAL EXPOSURE METER
Made by Weston Electrical Instrument Corp.
626 Frelinghuysen Ave., Newark, N.J.
50% Reduction On
Dallmeyer Lenses
IF YOU ACT IN TIME!
1" //1.9 Dallmeyer, List 50.001
V/2" //1.5 Dallmeyer, List 85.00
6" //4.5 Dallmeyer, List 90.00
6" f/3.5 Dallmeyer, List 125.00 J
SUBJECT TO PRIOR SALE
Sale Continues
A NEW GUARANTEED
VICTOR
(DISCONTINUED MODEL)
LIST
187.50
t$93
.75
MODEL 3C
PROJECTOR
HALF
PRICE!
WITH CASE
This is a fully accredited product of the famous Victor Animatograph Corpora-
tion. Every projector new. Has all Victor features, including automatic clutch
and 250 watt, 20 volt lamp. 300-400 watt lamps may also be used.
ONLY 94 AVAILABL E— S UBJECT TO PRIOR SALE
HERBERT & HUESGEN CO.
18 East42d Street
New York City
502
NOVEMBER 1932
PEACTCJ
The Only Exposure Meter
for both Cine and Still Cameras
Accurate . . . simple . . . compact . . .
the Practos wastes no time in making
adjustments or calculations. It is re-
markably free from complicating and
unnecessary adjustments, yet abso-
lutely accurate in its results. You do
not have to use a sliding scale — you
simply look into the meter and obtain
your findings visually. This new model
has depth of focus table. A leather
case of new design opens horizontally,
facilitating the handling of the Prac-
tos $5.75
Meter for Still Work only, $5.00
Send for literature or see this
unique meter at your dealers.
Send for new complimentary list of
plate and film emulsion speeds.
BURLEIGH BROOKS
127 West 42d Street New York
HAILE
16 mm. TITLES
NEW-STOCK TITLES
15 cents each
List of several hundred various word combinations
available. Taken from thousands of titles we have
made. You are sure to find some that can be
used. Will make up in order you wish so that
your editing is easy. List included free with
sample title below, or send 10c in stamps.
We will make sample title "Photography By
(your name)" for 25c.
Or purchase from us a Simplex Fading Glass,
Price $2.00 and receive 2 free titles, 8 words or.
less each. Also special offers on Reel Packs.
Rhamstine* Electrophots or Film Editors and
Craig Splicers. Write for details.
We do 16mm. developing and -printing.
Member ACL
). C HAILE & SONS
Motion Picture Dept.
215 Walnut St. Cincinnati. Ohio.
FREE
16MM. CATALOGUE
Rental
Hundre
Library of Features and Short
Subjects
ds of New and Used Films for
Sale at Bargain Prices
EASTIT Ft AT LIRE
FILMS
Galesburg, III.
The Centre
of Sydney
The Social Life of the Second City of
the British Empire revolves around
this famous hotel. Delightfully con-
venient to shops, theatres and busi-
ness houses. Magnificently illustrated
booklet for tourists free on request.
Wireless Address : Austraotel, Sydney.
THE AUSTRALIA HOTEL.
The Hotel of the Commonwealth
Sydney, N.S.W., Australia.
CloseUDS — What amateurs are doing
• The lure of amateur movie making
seems particularly strong for circus
folk, according to a late report from
the Victor Animatograph Corporation,
Davenport, Iowa. Alfredo Codona, that
ace of high trapeze artists with Ring-
ling Brothers, Barnum & Bailey, has
been making 16mm. movies for years in
all parts of the world. His reels include
countless pictures of his late wife and
coworker in the circus, Lillian Leitzel;
of the directors and leading players
from Tarzan, in which Codona doubled
for Johnny Weismuller in the tree
swinging scenes, and of nearly every
famous character under the big top. On
one occasion, Codona even went
through his flying act with a camera
strapped to his chest. Hugo Zacchini,
the chap whose idea of earning a living
is to be shot from the mouth of a can-
non two or three times a day, and Ameri-
cus Yacopi, expert tumbler and only
exponent of the quadruple flip, are
other stars of the circus devoted to
amateur cinematography.
H Most any movie maker would look
forward happily to the opportunity of
getting a good film of the frigate Con-
stitution, but this past summer Porter
Varney, ACL, was particularly eager
and expectant. It seems he knew some-
one who had arranged to get him on
board for a solo inspection of the old
battle wagon, a swell chance for plain
and fancy filming, unimpeded by sight-
seeing crowds. Mr. Varney, who is not
one to rush hastily into a job of this
kind, attentively followed the guiding
officers about, studying his subject and
planning his film. Occasionally he snap-
ped a still picture like the one below.
Main and mizzen of U. S. F.
"Constitution," caught in a
still but missed in the movie
Courtesy Victor Animatograph Corp.
Alfredo Codona, master of
circus swings, is a veteran
artist of amateur movies
Well, everything proved so fascinating,
the officers so entertaining and their
ward room luncheon so delicious that
first thing he knew the "bosun" was
piping up the anchor and not a foot
had been shot. There was nothing for it
then but to dash about filming like any
tyro and nearly half of the hundred feet
he did get were caught from a bobbing
launch as the frigate stood out of the
harbor. All in all Mr. Varney doesn't
think much of it.
■ In Bombay, India, the first prize of
an amateur filming contest, recently
sponsored by the Agfa Photo Company
for India, Burma and Ceylon, has been
awarded to Dr. Nadir H. Cooper. In a
letter to the League he graciously
writes: "I think it (his success) has
been due to a constant reading of Movie
Makers for the last three years."
Porter Varney, ACL
MOVIE MAKERS
503
The ten best
Following its annual custom, Movie
Makers will list in the December num-
ber its selection of the ten best ama-
teur films of 1932. This selection is both
simple and informal. During the year,
many films come to the headquarters
of the Amateur Cinema League for
comment and criticism, for editing and
titling suggestions or for aid in some
particular filming problem. Most of
these films come, of course, from
League members; club productions are
also included, as the League's club ser-
vice offers film reviewing as a part of
its club aid. A few come from movie
makers, not League members, to whom
the League gives criticism of one film,
as a sample of its member service.
The editorial staff of Movie Makers
sees these films and selects its choice
from among them for the "ten best."
There are no rules governing this se-
lection and no written system of evalua-
tion is used, the choice being purely
informal and representing the best
judgment of the majority of our edi-
torial staff, applied without rules or re-
strictions.
This annual listing is not, in any
way, an Amateur Cinema League con-
test, which would have, of course, to be
more formal and specific. It has, how-
ever, what Movie Makers believes is of
very particular value and that is a natu-
ral and unstudied choice of the best
amateur films from among the many
good ones. More films come to the
League offices for critical appraisal than
to any other place — the processing sta-
tions see more but do not give them a
detailed examination, except for proc-
essing quality — and it takes an excep-
tionally fine amateur reel to inspire that
degree of interest in the editors of
Movie Makers that would mark the
film out for this listing. Also these films
are not contest films but represent the
ordinary run of unselfconscious ama-
teur work.
This annual listing is, then, a selec-
tion from the largest reviewable group
of amateur films in the world and from
films made not for contest purposes.
Amateurs who secure a place in it may
be justifiably proud, because their
product has been singled out from that
of thousands of the best of the world's
amateurs.
Using lights indoors
[Continued from page 483]
front of the lamp at a safe distance
from the bulb itself. The heat will be
found very intense and care should be
taken not to place the diffuser too close
to the bulb. For more complete diffu-
sion, ordinary draftsman's tracing cloth
can be utilized. This will cut down the
exposure slightly but will make the
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR Fl .4, TESSAR F2.7and F3.5, TELE -TESSAR F6.3
■ FINDERS ■ FILTERS ■ SUN SHADES ■
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., NewYork. 728 South Hill St., Los Angeles
NOW READY! TWO FULL LENGTH
WCKEYZflCUIE
16mm. SILENT CARTOONS
CINE ART
FILMS
THE GALLOPING CAUCHO"
CAT. NO. 302-C (ON 400 FT. REEL) LIST $20.00
'PLANE CRAZY"
CAT. NO. 303-C (ON 400 FT. REEL) LIST $20.00
SILLY SYMPHONY AND MICKEY MOUSE SHORT
SUBJECTS— COMPLETE CATALOG ON REQUEST
HOLLYWOOD FILM ENTERPRISES, Inc.
6060 Sunset Boulevard, Hollywood, Calif.
Cine Art pictures are sold only in our red, white and black trade marked boxes.
Please write us, direct, if they are offered to you otherwise.
504
NOVEMBER 1932
A
R
T
T
I
T
L
E
S
VAOOTON DAYS
^HVtlMlbOW
DI^TIMf*TIVF printed and hand lettered.
uuMMWiivt Original backgrounds 25c upward.
Free samples. Production of 10mm. industrial, dental and
travel films. Correspondence invited. Member of ACL.
W. STUART BUSSEY
814 N. Meridian St. Lincoln 1207 Indianapolis, Ind.
16MM.
35MM.
SOUND
ANOTHER BERNDT SPECIAL
The above illustration shows a
Double Lens arrangement adapted
to one of Mr. Ollie Crennan's Cine-
Kodak Cameras for the purpose of
securing easy and exact focus.
An adaptation of a principle employed
on expensive professional cameras, this
device provides an infallibly accurate
focus. The additional lens system in
the attached visual tube synchronizes
and is geared with the camera lens,
so that you see exactly what the camera
sees. A high powered magnifier show3
an upright image and enables you to
obtain needle sharp definition. This
device can be adapted to both fast and
telephoto lenses.
Equipment built to individual specifications.
ERIC M. BERNDT
112 East 73d St.
New York
COLOR
Film Rentals
Sales — Exchanges
— New Low Rates —
Rentals: 400 ft. reel and up 60
Sales : 1 00 ft. subjects $ 1 .95
400 ft. subjects 8.00
Exchanges: 100 ft. reel 25
Send for comprehensive list of
varied and interesting subjects.
Manhattan Film Rental Library
5115 18th Ave. Brooklyn, N. Y.
M
ilttYourOwn
rpFilm Titles
Stationery, Cards, Bookplates,
advertising:, greeting cards etc.
Easy rules furnished. Complete
Outfits $8.86 op. Job Presses $11 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
catalog and all details. The Kelsey
Company. W-48, Meriden, Conn.
AMATEURS
Print Your Films
with the new
ARRI 16
STEP-PRINTER
Perfect Contact
Reliable
Low price including motor
for literature write to
FRITZ REICHEL, 3915 W. 3rd St.
Hollywood, Calif.
light softer and more pleasing. Such
devices are not necessary when using
the Photoflood lamps as they are frost-
ed on the inside and give a softer light
than the clear bulbs.
After finding that the photography
of a single subject is not as difficult as
he thought, the amateur may begin
planning to include several people in
the picture. A simple set up of this
type is the filming of three or four per-
sons on a davenport or grouped around
a chair. The same general principles ap-
ply in this type of work as in the pre-
ceding ones. In diagram 3 on this page
Diagram 1.
Reflector
'htens shadows
will be seen an average arrangement of
lights. With this set up the exposure
will be //2.5 to //2.8 with supersensi-
tive and f/1.9 with ordinary panchro-
matic. In placing the subjects, be sure
that no confusing shadows are allowed
to fall on the faces of the people in the
group. Since several persons will be
in the field there will be many more
shadows with which to contend. Watch
for distorted shadows on the back-
ground and reflection of light from pic-
tures or mirrors. If anyone is wearing
glasses, be sure that these do not catch
the light and cause it to shine into the
lens. The fact that the camera will often
make the objects in the foreground ap-
pear large in relation to the rest of the
scene not infrequently spoils the pic-
ture. Care should be taken to see that
the legs of the subjects do not extend
into the foreground of the picture so as
to form too prominent a part. It is bet-
Diagram 2.
A placement of two lights
ter to have the camera tilted slightly
downward from a level a bit higher
than the heads of the subjects. Here,
more than in the preceding set ups, at-
tention should be paid to the camera
angle, that is, the angle from which the
Diagram 3.
Set up for scene of group
picture is to be taken. It always looks
very "stagy" to have the camera direct-
ly in front of a divan with people look-
ing very stiff and aware of the fact they
are having their picture taken. By plac-
ing the camera so that some natural
action may be included, a much more
pleasing picture will result. Be careful
in arranging the people in the scene
and choosing the camera viewpoint so
that the faces of none of the subjects
will be hidden behind others. A little
planning and study will be well reward-
ed by a smooth and pleasing presenta-
tion of the group when the film is
screened.
The mechanical features of filming
by artificial light are very simple but
important. When using Photoflood
lamps it is well to turn them off when
not actually in use. This will lengthen
the life of the lamp and keep it from
heating the reflector too much. This ap-
plies also to the five hundred watt lamp,
particularly when diffusing cloth is
used. Cloth or paper, when allowed to
come in contact with these bulbs for a
few seconds, will smoke and char dis-
agreeably if the bulb has been in use
for a minute or more. The cords used
with lighting units should be strong
and durable. The ordinary silk covered
cord, as used for bridge lamps and the
like, is not usually heavy enough for
use with lamps of a higher wattage.
The best kind to use is rubber covered
wire with good serviceable plugs for
the connections.
Lighting of this simple nature will
not be found difficult and, after the
amateur has mastered it, he will find
himself experimenting with the more
advanced types as a matter of course.
To be able to take satisfactory indoor
pictures with a minimum of equipment
is within the capability of every movie
camera owner.
New ones for winter
[Continued from page 484]
will place the light where it is wanted.
"Shaking up a few" is the subject of
one indoor shot, the mixing, the agita-
tion, the pouring and the return of the
glass for "just one more." There is
almost as much poetry — though less
stimulation — in tossing up a salad, pro-
vided an attractive bowl be used and
MOVIE MAKERS
505
the process angled instead of being
taken all from a single set up.
There is no limit to the stories which
can be told with detached features. For
instance, an opening shot shows the feet
of a man and a girl standing on a rug.
The masculine boots advance while the
feminine pumps retreat. Boots show
eagerness, the pumps diffidence. Boots
turn to go. Pumps follow, but only a
few steps, when boots turn and pumps
go on tiptoe for an ecstatic salute. Call
it The Kiss if you can think of no bet-
ter title.
Along the same lines is a good night
picture shot through the banisters
against a section of the stairway. Swing
to the hall clock which shows eight.
Baby bootees patter up to bed with
Mother's in the background. Nine
o'clock and Jimmy crawls up, pausing
to appeal from the maternal mandate.
At ten, sister Susie follows and at eleven
Mother goes up, followed by Father and
the light fades, shut off from the up-
stairs switch.
This can be elaborated. Cut in a
closeup of the book Jimmy is reading.
A maternal hand closes the volume. The
pudgier fist reopens it. "Just to the
end of the chapter." The book is closed
again, and we see James's feet on the
stairway. In the same way, Susie is
at the piano and, just before the final
shot, Father's hands test the front door
lock for the last nightly precaution.
That will give the general idea.
One or two of these will be plenty,
but there are scores of home dramas.
Perhaps a candy pull. The party ad-
journs to the parlor to let the candy
cool. Jimmy, in his pyjamas, comes to
help himself. Mother discovers the
empty space on the plate and goes to
interview Jim who vainly pretends
sleep. He has to waken, but he can only
shake his head in a negative. His teeth
are wedged into the sticky mess. And
just for that he has to brush his teeth
all over again.
The family pets will come in useful
as models if you have patience, but it
does take patience. You can't talk dog
or cat language, but you can either
avail yourself of what they will do or
you can trick them into doing what you
want. One enthusiast wanted the cat to
watch at a rat hole. The cat was not
interested and would do everything but.
The next evening he shook part of a
package of catnip down the hole and
the cat "trooped" like a veteran player.
Trick stuff is often too much like
work, but there are some stunts which
do not involve much labor. A room with
folding doors can be used for a black
art sequence. All light is cut off in the
room on which the doors open. White
clad performers with powdered hair can
be made to appear or disappear by the
simple procedure of removing or re-
placing a black cloth, the person han-
dling the cloth being clothed entirely
nnnouncmo
kino-lux'* 2
KIN-O - LUX
SAFETY FILM
The important and gratifying response accorded Kin-O-
Lux is ample proof that there exists a very definite de-
mand for a low priced film of good quality. We are happy
to announce that, in Kin-O-Lux No. 2, a fine grain, semi-
chromatic, high quality film has been developed which
offers an increase in speed and in sensitivity to color and
tone over our No. 1. ... at a trifling additional cost. Film
No. 1 will afford good results if used without filters and
under conditions of ordinarily bright sunlight. Film No.
2 is approximately twice as fast and will provide a tested
and efficient emulsion to the amateur whose requirements
embrace a wider latitude of work, including even con-
ditions of filter use and less favorable lighting.
PRICES INCLUDE PROCESSING AND SCRATCH-
PROOFING BY THE TEITEL METHOD
50 Feet $2.00
50 Feet 2.50
No. 1. 100 Feet $3.00
No. 2. 100 Feet 3.50
If you cannot obtain Kin-O-Lux from your dealer
send us his name and the required amount.
CHICAGO OFFICE: 806 WABASH AVE.
KINO LUX INC. I05W.*0T7T. NEWyOfcK
Take Fascinating Pictures in Your Home
Every quality you have wanted in your indoor
movies is now possible when you illuminate with
FOTOLITES . . . FOTOLITES are unsurpassed
for compactness, simplicity and light power.
FOTOLITES range in price from $1.25 to $16.
WRITE FOR ILLUSTRATED FOLDER
w^^//y%,
The Stanrite Tripod and Panrite Tilting Top
Professionals and serious amateurs find this new
combination the ideal equipment for steady pictures
at any angle for any camera. Rigid Construction,
Light Weight, Beautiful Finish (mahogany and
chromium).
Stanrite Tripod $12.00 Panrite Tilting Top $9.00
Lockrite, instant on attachment for Panrite
$3.00
New Reel Film Carrying Cases. Finer in finish,
with specially designed removable moistener which
permits moistening without danger of damaging
films.
5 Reel Case $5.00 10 Reel Case $6.50
20 Reel Case $9.00
SK YOUR DEALER FOR A DEMCmsTR/YTIOH
TESTRITE INSTRUMENT CO. MEW YORK
506
NOVEMBER 1932
WE PRESENT
THE WESTON UNIVERSAL
Exposure Meter
We have it. Let us show it to you
Phone
Circle
<m
hSons
1905
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
N
EWMANLITE
FLARES
The favorite illuminant of leading
explorers, naturalists and scien-
tists. Used in conjunction with
supersensitive film, night photog-
raphy becomes delightfully and
unbelievably simple. It is the most
effective illumination known for
the world of outdoors, one flare
equalling 75,000 candle power.
Booklet and prices on request
I.C. NEWMAN CO., Inc.
545 FIFTH AVENUE
NEW YORK, N. Y.
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters.
H. W. Knight & Son, Inc., Seneca Falls, N. Y.
nctive
Quality Has No Substitute
Please refer to our advertisement
in classified section.
I04I JEFFER/ON AVE. BROOKLYN N.X
Talk Your Titles!
WITH A
UNIVERSAL MIKE!
Entertain your audience by speak-
ing to them FROM THE SCREEN!
Hook a UNIVERSAL MIKE to your
radio set and describe your films
while projecting. Just like a regu-
lar theatre talkie!
$7.50 and up
UNIVERSAL MICROPHONE, LTD.
Inglewood, Calif., U. S. A.
in black with a gauze mask. It may take
a little practice to get the effect just
right, but you can perform amazing
decapitations and the like. It's good
fun, anyhow.
It is not possible to do more than
scratch the surface in a single article
but, now the surface has been scratched,
dig under and see what you can find.
Editing neatly
[Continued from page 485]
capital T is placed in the lower right
hand corner of the tag bearing figure 18
and the description of the scene. The
wording of the title is then printed with
pencil on the back of the tag. There is
enough space on the tags so that almost
any title will fit without difficulty. If an
unusually long title is to be used, a
blank tag may be placed undej the first
and the title written thereon. Since a
pencil is used for all markings, the tags
may be used a number of times by eras-
ing the written matter.
The film, itself, is now ready for re-
arrangement. As the order of the tags
on the board represents the order of the
scenes in the film after it has been rear-
ranged into its final form, the balance
of the work may be carried out by con-
ventional methods. The film, which pre-
viously had been projected for the pur-
pose of describing the scenes on the
tags, is rewound. The cutting of the
scenes from the film may be done either
with the aid of the projector, a rewinder
equipped with a magnifying glass so
arranged that the pictures of individual
frames are readily distinguishable or a
viewing device in which the picture may
be seen in motion. If a projector is used,
the film is slowly screened but, instead
of going on to the take up reel, it is al-
lowed to drop from the lower sprocket
into a basket or cloth arranged beneath
the machine. The first scene is thrown
on the screen after which it will emerge
from the projector. As soon as it is be-
lieved that the scene is free of the mech-
anism, it is stopped, the film is exam-
ined and cut at the point where the next
scene begins. It is desirable to have a
light close to the projector so that the
individual frames may be easily identi-
fied. A small magnifying glass will help
in preventing eye strain and it will also
aid in picking out faulty frames to be
cut off. The section of film carrying the
first scene is then wound in a small roll
about an inch and a half in diameter,
taking care to handle the film by its
edges. A rewinder spindle on which is
mounted a small wooden spool, pro-
vided with a slot for fastening the tip of
the film, is helpful in forming the roll.
To keep the roll from unwinding, a
paper clip of the number 3 variety
(about half an inch long) is slipped
over the edges of the film so as to keep
it tight. The roll is then placed on the
hook indicated by the tag bearing index
Charles J. Belden, ACL
Ralph R. Eno, ACL, offers
this lettering for title
background. See page 488
number 1. This tag, for example, may
occupy hook 14. It is only necessary to
refer to the numbers which are large
enough to stand out conspicuously. In
the manner just described, scene 2 is
run through the projector, cut and hung
on whichever hook bears tag 2 and so
on. If the cutting has to be interrupted
for several days, the rolls of film and
tags in position on the board may be
protected and secured by stretching
long rubber bands across the board in
such a way that the outer hooks in each
row hold the loops of the elastic bands
apart. A newspaper placed over the
board will keep out dust.
When it is not necessary to change
the order of three or four successive
scenes, there is, of course, no need to
cut the film unless defective frames are
to be eliminated. The several scenes
may be wound in one roll which is then
hung on the last hook of the series. For
instance, scenes 5, 6 and 7. if they do
not have to be changed in order, are
wound in one roll which is placed on
hook 7.
The final splicing process, which is
carried out in the conventional way,
needs not be described. It is only nec-
essary to state that the titles and scenes
are spliced together in the order shown
by their positions on the editing board.
Editorial imperatives
[Continued from page 487]
might follow, in order, the medium shot
of the bow and name, a long shot of
the vessel, a medium shot along the side
toward the gangway, the general near
shots of passengers, the specific close-
ups of one's friends and the concluding
and lengthening scenes of sailing. In a
personal film, a sequence might be
opened with a closeup of the hands of
the subject — engaged in some signifi-
cant activity, such as playing a musical
instrument. Then would follow near
view and medium shot.
Beyond these two standard ways of
establishing coherence, we come to those
finer phases of editing concerned with
achieving just the right effect. As a
magazine editor will change a word
MOVIE MAKERS
here or invert a sentence there, trying
for a pleasant cadence, so a cine editor
may trim a scene length or rearrange
his cutting, toward a similar purpose.
He may work for balance in his foot-
ages, both within each sequence and
from one to the next, spacing several
short scenes against a long one. He may
use the unfailing vigor latent in con-
trast or comparison, so relating the
sense of his sequences that they will say,
'"On the one hand . . . and on the other."
He can guard against monotony by a
pleasant varying of succeeding points
of view, and as he refines down all of
these he can strive for tempo. Accent
may be gained by placing a scene first
or last in its sequence, or more subtly by
a sharp contrast in the relationship of a
series of scenes. Acceleration of interest
will follow successively nearer and
shorter scenes. Deceleration will result
as scenes draw away and lengthen.
These and other schemes, varying with
the material and with the purpose, add
the final touch in editing, nicety of ef-
fect. Common sense first, clarity second,
coherence third and right effect last,
important in that order, are the simple
steps in editing which bring us to the
natural end of all movie making — intel-
ligent, attractive and appreciated
screening.
507
FREE FILMS
These films, on 16, u?i-
less 35mm. is specified,
are loaned free except for -payment of postage.
Requests should be addressed to the Amateur
Cinema League, Inc., 105 W. 40th St., N. V. C,
and films desired mentioned by titles. Re-
quests, on receipt, are forwarded to distributors
who get in touch with applicants and make book-
ing arrangements. Specific dates cannot be
promised until the applicant hears from the dis-
tributor. Do not send postage with requests;
when it is required, the distributor will notify
the applicant. Of course, films should be returned
postpaid. Some films are limited to groups, in
which cases it is so stated in the re-views. In
applying for films limited to groups, the type
and probable size of the audience must be men-
tioned. Films are not available outside of the
United States, unless so stated. Any amateur may
apply for films reviewed as this service is ?iot
limited to Amateur Cinema League members.
• Capping The Finest, one reel, 16mm.,
filmed by Charles High Productions and
reviewed through the courtesy of the
Kerr Glass Manufacturing Corporation,
is a teaching film showing the most mod-
ern methods of canning food as ap-
proved by the United States Depart-
ment of Agriculture.
B From Sand To Suds, one reel, 16mm.,
produced by the Frederick K. Rockett
Company and reviewed through the
courtesy of the Los Angeles Soap Com-
pany, shows the different steps in mak-
ing soap and soap powder. This starts
with views of the cocoanuts from the
South Sea Islands and concludes with
shots of the finished products. Distribu-
tion of this film is limited to states west
of the Mississippi River.
■ Pictorial Colorado, one reel, 16 and
35mm., reviewed through the courtesy
of Ray Bell Films, Inc., and produced
for Modern Woodmen of America, de-
picts the outstanding scenic spots of
this attractive state. This film is limited
to group screening.
■ Arizona, one reel, 16 and 35mm., re-
viewed through the courtesy of the
Goodyear Tire and Rubber Company,
shows how Americans enjoy Arizona as
a charming winter playground and will
take one away from the cold of the north
for fifteen delightful minutes.
News of the industry
[Continued from page 489]
person or concern who sold him the
print in question. This replacement will
be made at no cost.
Pathegrams-Gerke ■ Frederic L.
Gerke is now
sole distributor in the United States
for Pathegrams Film Library, a most
important source of supply for 16mm.
film libraries. Mr. Gerke, who will
maintain headquarters at 45 West 45th
Street, New York City, is offering a
novel merchandising plan to one dealer
in each city, whereby this dealer may
handle Pathegrams exclusively. Inter-
esting subjects in this well known li-
brary, comprising both sound and si-
lent offerings, include Our Gang,
Aesop's Fables, Snub Pollard, Grant-
land Rice Sportlights and Vagabond
Adventures.
BcaCOn ■ A'1 interesting, new type
of small, portable reflec-
tor for use with the Photoflood lamp
for making indoor movies is found in
the Beacon Jr., offered by Klein and
Goodman of 18 South Tenth Street,
Philadelphia, Pa. Among the important
features of this reflector are its facility
of use either as a portable hand lamp
or with tripod and its ability to cast the
light at any angle at will. The stand is
adaptable to single or multiple unit
mounting and comes complete with
nickeled tripod which may be extended
to heights of from three to seven feet.
One nine eight ■ The popular
little Cine-Ko-
dak Eight makes its appearance this
month with an //1.9 lens equipment.
This lens is quickly interchangeable
with an //4.5 one and one half inch
telephoto. An attractive carrying case
with room for the telephoto lens is sup-
plied with this Cine-Kodak Eight Model
60. In adding this fast lens the Eight
is equipped to compete with its larger
brothers in ability to capture pictures
under the most unfavorable conditions.
As a fitting companion to the Model 60
camera the Eastman Kodak Company
also announces a new Model 25 Koda-
scope Eight. This finely made machine
//
"BIG
boy
He's just four — but
he packs a wallop of
laughs!
Here's a kid movie star who is almost as cute
as your own youngsters. They'll love him, and
so will you.
And then there is your favorite cartoon charac-
ter, Felix, as well as 120 new short subjects — all
the product of the famous Educational Film Ex-
change Studios.
The rental price is just 50c a reel at the dealers
listed below (week end 75c, minimum rental
$1.50).
DEALERS
Portland Lowell Boston
J.F.Gould Donaldson's Eastman Kodak Stores
Worcester Hartford
J. C. Freeman Co. D. G. Stoughton Co.
L. B. Wheaton Co. Harvey & Lewis Co.
Springfield Providence
Harvey & Lewis Co. Starkweather & Williams
Bristol Waterbury
Lee E. Paulmann Curtis Art Company
New Haven Bridgeport
Harvey & Lewis Co. Harvey & Lewis Co.
Fritz & Hawley Co. Fritz & Hawley Co.
Stamford New York City
W. A. McClelland Abe Cohen's Exchange
Herbert & Huesgen Co.
New Rochelle Great Neck
Artist's Photo Service Lovett Cinema Studio
Albany Troy
E. S. Baldwin A. M. Knowlson Co.
Schenectady Syracuse
Lyon's Francis Hendricks Co.
BlNGHAMTON ROCHESTER
A. S. Bump Co. Sibley, Lindsay & Curr
Buffalo Hempstead
J. F. Adams Co. Agnew's
Buffalo Photo Material Co.
Newark Montclair Summit
Schaeffer's Madison's Eastman Book Shop
Morristown East Orange Plainfield
Ajemian's M. B. Ross, Inc. Mortimer's
Philadelphia Trenton
McCallum Stores Dwyer Bros.
Williams, Brown & Earle H. E. Thompson
Scranton Reading
'Home Movies Library A. G. Bowers
Lancaster Altoona
Darmstaetter's "Cohen's
Pittsburgh Wilmington Washington
Jos. Home Co. Butler's Robbin's
Indianapolis Cleveland
The H. Lieber Co. The Halle Bros. Co.
Canton Milwaukee
Roth & Hug *Eastman Kodak Stores
Grand Rapids Dayton
The Camera Shop Dayton Camera Shop
Evanston — Oak Park Terre Haute
Hattstrom & Sanders Snyder's Art Store
Toledo Columbus
Franklin Printing Co. Don McAIister
Chicago Springfield
Aimer Coe & Co. The Camera Shop
Cincinnati Detroit
Huber Art Co. Eastman Kodak Stores
St. Louis Tucson Sioux City
Erker Bros. "University of Arizona Lynn's
Denver Omaha
Akin & Bagshaw J. G. Kretschmer
Minneapolis
Auditorium Supply Co.
*lndicates features only.
The tew series of 1933 Features is now ready
in many of these cities. The dealer nearest
you will give you titles and prices.
(!'<&i/<n:cit(OTiaJ: ULctuAXsP
THE SPICE OFTHE PROGRAM"
16mm. Releases Distributed by
HOME FILM LIBRARIES
INC.
500 Fifth Ave. New York City
508
NOVEMBER 1932
ON THIS MOVIE OUTFIT
Former list price $145.00.
DeVry Model G— 200 watt
— Double Claw Model —
Speed Rewind — Complete with
Case, $37.50.
Peko 16mm. Spring Wound
Camera — 3.5 lens — 100ft. ca-
pacity— with Case at $22.50.
Both only $57.50.
Send for Free Bargain-
gram No. 209 £\
, BASS
1A> CAMERA COMPANY
179 W.Madison St. Chicago
Uhler 16mm. Step Printer
FOR THE
Amateur or Professional
Motor Driven
400 ft. Capacity
12 Light Changes
Friction Take-Up
A Guaranteed Printer
at a Low Price
Write for Descriptive Literature
LOUIS S. UHLER
3422 Howard St.
Detroit, Mich.
OUR NEW TRAVELETTES:
"Falling Waters of Yosemite"
400 ft., $24.00; 200 ft., $12.00: 100 ft. $6.00
"Let's See Yosemite!", 400 ft., $24.00
"Death Valley," 460 ft., $27.50
SEND FOR NEW ILLUSTRATED BOOKLET
GUY D. HASELTON 7901 sTodT Blvd-
8m/m FANS
Have your 9.5mm. & 16mm. films
reduced to 8mm.
CEO. W. COLBURN
7228 N. CLARK ST., CHICAGO
28 * 17.5 * 9.5mm. to 16mm.
Opposite the
Hotel New
Yorker
AUTHENTIC
STARTLING
200 feet
TOTAL ECLIPSE
the SUN AU8USt
31, 1932
filmed in the TOTALITY ZONE,—
dramatic, — beautiful, — awe-inspiring!
See the "diamond ring", — totality, —
shadows, — effects on animals, birds, «, _ ^m
— passing of the moon. ol Cfe
200 feet 16mm. prepaid JL^7
Rales on application for 35mm. copies — 50c per
foot for your choice of various p/iases —
complete your scenario'.
SOLAR ECLIPSE FILM COMPANY
32 Pearson Ave. West Somerville, Mass.
will run on either A. C. or D. C, 100
to 150 volts. Unusual screen brilliance
and great mechanical simplicity mark
the Kodascope Eights. The 8mm. line
now includes two cameras and three
projectors which are designed to fit the
needs of every amateur movie maker.
With its low film cost and low initial
price the Cine-Kodak Eight is fast be-
coming standard equipment for many
new movie makers. The new prices,
$79.50 for the Model 60 camera and
$34.50 for the Model 25 projector, are
well within the reach of the thrifty
amateur.
BaSS book ■ An attractive catalog,
listing over three hun-
dred and fifty 16mm. library subjects,
has recently been issued by the Bass
Camera Company. 179 West Madison
Street. Chicago, 111. Besides a large
number of the most popular features of
the professional screen there is a wide
assortment of the best comedies obtain-
able. The Bass Camera Company will
be glad to send any interested person a
copy of this catalog.
Kin-OLUX II a The interest
aroused by the in-
troduction of the Kin-O-Lux reversal
film some months ago will now receive
an added impetus by reason of the pres-
entation of an improved film, Kin-O-
Lux No. 2. The new emulsion is de-
scribed as faster and more color sensi-
tive. While not equal to panchromatic
in speed or color rendition, the new Kin-
O-Lux film gives improved results at
only a slight increase in cost over Kin-
O-Lux No. 1. The firm's address is 105
West 40th Street, New York City.
Filmo Topics ■ The October -No-
vember issue of
Filmo Topics, of which the Bell & How-
ell Company of Chicago will send you
a sample for the asking, offers much
of interest. Articles on editing, the com-
mercial use of motion pictures and
movie makers' Christmas cards are
among the timely topics covered in this
very interesting issue.
Cine-Kodak News ■ By writing
to the Edi-
tor of Cine-Kodak News, Eastman Ko-
dak Company. Rochester, New York, the
interested movie maker may secure a
copy of that very readable publication.
Besides seasonal suggestions for the
cameraman there are articles on sub-
jects of interest in many other phases
of movie work.
Guilde serves ■ The Art Title
Guild e, 5519
Broadway, Chicago, has recently added
a number of new border styles to their
present line. Special borders for indus-
trial films and other special decorations
are now offered.
Arri ■ The already well established
Arri line of printers is now
being handled for the entire country
by Fritz Reichel, 3915 West 3rd Street.
Hollywood, Calif. Mr. Reichel will take
over the Eastern agency for these print-
ers from George F. Wild, formerly of
Flushing, New York.
Football title background
with figures cut in wood
by Earl H. Smith, ACL
MOVIE MAKERS
Practos Meter ■ A new exposure
meter introduced
to American photographic enthusiasts
by Burleigh Brooks, 127 W. 42nd Street,
New York City, has recently been an-
nounced. Of the tubular type, it pro-
vides for both movie and still use with
but few simple adjustments. A depth
of focus table forms part of the meter.
A unique feature of this handy little
instrument is the "foolproof" method
of reading. Little is left to the user's
judgment for, when reading, three num-
bers are seen in the field. One becomes
invisible, the next barely discernible
and the third easily read. Compensation
for the use of filters and various makes
of film forms a part of the setting. A
neat leather case with sliding catch
fastener is furnished.
DeBrie reduces ■ Following the
recent introduc-
tion of the new 8mm. motion picture
apparatus, the firm of Andre DeBrie of
Paris has developed a new optical
printer for transferring 35mm. images
to 8mm. In this machine, "double
eight" or special 16mm. film is used
just as in the 8mm. camera. The film
is then split after two rows of images
have been exposed and developed. The
famous firm of Andre DeBrie is now
established in the United States as
Andre DeBrie of America, Inc., with
headquarters at 115 West 45th St., New
York City. Increasing use of substand-
ard film is met by the company's small
developing machine and by a new pre-
cision perforating machine for 8mm.
509
Uhler printer
A well made, eas-
ily operated step
printer for 16mm. film is now marketed
by Louis S. Uhler, 3422 Howard St.,
Detroit, Mich. A feature of this ma-
chine, not usually found in those of
lower price, is the fact that it has two
take up spindles. These are belt driven
and will serve to keep the film clean
and to lessen the danger of scratching,
which is present when the film is al-
lowed to run free. A handy rheostat al-
lows the use of twelve light changes.
Double claws, cam and eccentric inter-
mittent and adjustable frame line are
all features of this sturdy outfit.
New lab. ■ The organization of a
laboratory devoted par-
ticularly to the processing of 16mm.
negative and positive film is announced
this month by officials of the Major
Film Laboratories, 120-122 West 41st
St., New York City. Inspection of the
new laboratory revealed complete, ef-
ficiently arranged, modern equipment
for the production of 16mm. positive
prints in any quantity. Heading the
enterprise are Major Thomas W.
Evans and Charles J. Hirliman, both
successful figures in the industry for
AN
ANNOUNCEMENT
OF
IMPORTANCE
Twenty years of concen-
trated experience in the
professional motion pic-
ture field establishes a
background of successful
endeavor and careful
achievement whose fruits
in the shape of applied
knowledge are now be-
ing devoted to the prob-
lems of the amateur.
In every detail and pro-
gressive step in the de-
veloping of each foot of
film the same meticu-
lous care is given as is
vouchsafed the profes-
sional film in your neigh-
borhood theatre . . . and
these ultimate steps are
uniquely important when
one considers how prop-
erly exposed film will
yield improper results
thru faulty processing.
Our laboratory consid-
ered from the standpoint
of both equipment and
personnel is the ultimate
word in perfection. In an
effort to gather under
one roof every available
processing device and
accessory, no expense
has been spared. Our
technical staff is the
most experienced ob-
tainable. We extend to
movie makers, one and
all, a sincere invitation
to visit our laboratory,
so that they may ac-
quaint themselves with
the intricacies of mo-
tion picture printing in
an ultra-modern plant.
There is, of course, no
obligation — whatsoever
■ — you are cordially wel-
come— and if you have
problems to discuss — so
much the better.
We specialize in 16
and 35mm. Developing,
Printing and Film Edit-
ing, Titling by a n;w and
effective process, make
reduction and contact
prints, *16mm. sound-
on-film printing.
Ask your Dealer for a
descriptive catalog on
Queerosities, odd shots
of unusual interest taken
all over the world such
as the The Monkey Fire-
man, The Human Pro-
jectile, The Living
Corpse and others.
*Our method is the only one
approved by R. C. A. Photo-
phone.
» MAJOR
FILM LABORATORIES
I20W.4I ST. NEWYORK
AT BROADWAY
CRAIG JR.
SPLICER
$5.00
The Craig Jr. leaves no white or black
line between the frames. Craig spliced
film never flickers on the screen, and
the straight splice runs through the
projector without a clicking noise.
Combination $I2.50
A complete editing unit consisting of
Craig Jr. Splicer, free running post and
Thalhammer Silent Rewinder mounted
on long board.
CRAIG MOVIE SUPPLY Co.
1031 South Broadway
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
HAND LETTERED TITLES
FREE
• •
Send in your reel (any size) for editing to-
gether with $10, a special price for limited time
only. You will receive free a hand-lettered
title assembly spliced in to introduce your film.
This consists of a set of high-grade, double-
exposed, hand-lettered titles with appropriate back-
grounds and complete with fades and dissolves.
Include copy for three main titles.
NEW 25c TITLE SERVICE
for those whose requirements indicate titling mod-
erate In price, but high in quality.
RALPH R. ENO, 1425 Broadway, New York
Dear Sir:
Enclosed please find $1.00 and copy
for 4 titles. None of these titles
contains more than 8 words.
Name
Address
America's Pioneer (16mm.) Art Title
Builder and Film Editor, Charter
Member ACL
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
510
NOVEMBER 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Garry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Tucson: T. Ed. Litt, Cor. Congress & Stone.
CALIFORNIA
Bbrkeley: Berkeley Commercial Photo Co., 2515
Bancroft Way.
J. F. Hink & Son, Sliattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive.
East Sak Diego: Bluebird Camera Shop, 4236
University Ave.
Fresno: Potter Drug: Co., 1112 Fulton St.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Hollywood: Bell & Howell Co., 716 N. LaBrea
Ave.
Hollywood Camera Exchange, Ltd., 1600 N.
Cahuenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
HOLLYWOOD FILM ENTERPRISES, INC.,
6058 Sunset Blvd.
Huntington Park: Huntington Park Camera
Shop, 6508 Pacific Blvd.
Huntington Park Pharmacy, 6101 S. Pacific
Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-0 Film Co., 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
Schwabacher-Frey Stationery Co., Box 1347,
Arc. Annex.
Tappenbeck & Culver, 10958 Weyburn Ave.,
Westwood Village.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Monrovia: Cliff's Photo Art Shop.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: F. W. Reed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac
Donald Ave.
Riverside: F. W. Twogood, 700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc., 419 Broadway.
Harold E. Lutes. 958 Fifth St.
San Francisco: Eastman Kodak Stores, Inc.,
216 Post St.
Hirscli St Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
Phil Lasher, Ltd., 254 Sutter St.
San Francisco Camera Exchange, 88 Third St.
Schwabacher-Frey Stationery Co., 735 Market
St.
SHERMAN, CLAY & CO., Kearny and Sut-
ter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Rafael: Webb & Rogers, 4th and B Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: Camera Shop, 800 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Logan Studios, 20 N. San Joaquin
St.
Peffer Music Co., 40 S. California St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop, 404-16th St.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Danbury: Heim's Music Store, Inc., 221 Main St.
Hartford: Harrison Harries, 255 Franklin Ave.
Harvey & Lewis Co., 852 Main St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co., 65 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: McDaniel Gift Shop, 21 W. For-
syth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
Pocatello: Cook Drug Co., Hi W. Center St.
ILLINOIS
Chicago: Associated Film Libraries. Inc.,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 W. Washington St.
Post Office News Co., 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
WOLK CAMERA CO., Opp. Post Office, 219
S. Dearborn St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders, Inc., 702 Church St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Waynb: Howard Co., Inc., 112 W. Wayne
St.
Frankfort- Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd & Jefferson
Sts.
Cedar Rapids: Camera Shop. 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Lynn's Photo Finishing Inc., 421 Sixth St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexington: W. W. Still, 129 W. Short St.
Louisville: W. D. Gatchel & Sons, 431 W.
Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Folkemer Photo Service, 2814 Rayner Ave.
Stark-Films, 219 W. Centre St.
Zepp Photo Supply Co.. 3044 Greenmount Ave.
Hagerstown: R. M. Havs and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co.. 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Pittsfield: E. C. Kilian. 411 North St.
Salem: Pitman Movie Service, 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co.. 1503 Main St.
Worcester: J. C. Freeman X Co., 376 Main St.
Harvey ft Lewis Co.. 513 Main St.
L. B. Wheaton, 368 Main St.
(Continued on -page 512)
MOVIE MAKERS
over twenty years. Associated with
these is A. F. Bernadac, whose long ex-
perience in practically every branch of
the motion picture industry, both in
16mm. and in 35mm., will be of un-
doubted value in making the enterprise
a success.
511
Major Laboratories' modern
equipment includes latest
Depue 16mm. sound printer
Navilio ■ ^n interesting sound on
disc. 16mm. exchange li-
brary is placed at the disposal of ama-
teurs this month by J. Navilio, 1757
Broadway, Brooklyn, New York. A
complete list of subjects in this popular
sound and silent library will be sent
on request.
New B & H Dry Scraper, an
aid to permanent splicing
Foto Clear ■ This is a new reversal
film of the slower,
less expensive type, marketed by Art
Movie Service, 44 West 33rd Street,
Bayonne, N. J. The price includes proc-
essing and amateurs will find it satis-
factory for many purposes.
Old English ■ The handy metal let-
ters manufactured by
H. W. Knight and Sons of Seneca
Falls, New York, are being offered now
in an Old English style of type. These
letters come in black or white finishes
and their thickness enables them to be
used with cross lighting for shadow ef-
fects. Other types are also available.
lottingS ■ An improved type of
sound track is noted in a
film clipping from one of their new
sound on 16mm. releases sent us by the
Burton Holmes Lectures, Inc. This track
is of the "V" type, which is the
latest, noiseless, double modulation
method of sound recording, n Herbert
and Huesgen Company, of New York
City, continue their offer this month of
two exceptional bargains — the Model B
Victor projector and certain Dallmeyer
lenses for half price. ■ The Ensign
Home Cine and Film Library Trade
News has recently made its first ap-
pearance. An inexpensive, 50 foot mod-
el British Ensign with //3.5 lens is fea-
tured. It is understood this will not be
exported to America. ■ The Bolex com-
bination 16mm. and 9.5mm. projector
continues to excite attention. Yes, the
same projector runs both films; believe
it or not. Screen results are excellent.
Featured releases
| This depa<rtme?it is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not been examined by Movie Makers.
■ Bell & Howell Co., Chicago, III. The Filmo
Library catalog- lists a great variety of attrac-
tive subjects including sport, travel and educa-
tional features.
| Bolex Company, New York City. Two new
films, The Spieler and Our Gang in 4th Alarm
are issued by this distributor of the new Bolex
projector.
| Eastin Feature Films, Galesburg, 111. New
releases by this company include The Buck Deer,
The Bull Moose and The White Buck Deer for-
merly released by the Eastman Kodak Company
as Wilderness Lives No. 3, 4 and 5, respective-
ly; Arizona's Grand Canyon also has been newly
acquired.
| Eastman Kodak Co., Rochester, N. Y. The
new Cinegraph releases include up to date come-
dies with popular actors.
■ Gerke, Frederic L. This distributor of
Pathegrams, exclusively, lias the following new
100 foot, 16mm. silent films to offer: Our Gang
in Breaking Into The Movies, Some Pirates, The
Barber Shop and Making Their First Movies;
Aesop's Fables, Good Old School Days, Haunt-
ed Ship, African Jungle Hunt and Deep Sea
Divers; Grantland Rice Sportlights, Frolics Of
Frost, River Divers, Lion Athletics and Mod-
em Mermaids.
■ H. C. Film Service, Detroit, Mich. Dirt
Track Daredevils is a fast, thrilling picture of
racing by famous drivers of famous cars.
■ Haselton, Guy D., Hollywood, Calif. Fall-
ing Waters Of Yosemite, Let's See Yosemite and
Death Valley are the latest offerings of this
able cinematographer.
| Hemenway Film Co., Boston, Mass. Claimed
as one of the finest of all religious films, The
Passion Play, 2000 feet, 16mm., is featured by
this distributor.
| Hollywood Film Enterprises, Hollywood,
Calif. This company now offers two feature
length Mickey Mouse cartoons, The Galloping
Gaucho and Plane Crazy. Among other Mickey
Mouse subjects are The Haunted House, Mickey's
Skeleton Dance and Robinson Cruso Mickey.
The Silly Symphony releases include Old King
Cole, The Cat And The Fiddle and Little Miss
Mujfett.
■ Home Film Libraries, New York City. Big
Boy, featuring a delightful four year old, will
provide a charming evening's entertainment. The
famous Felix cartoons are also distributed by
this company.
| Kodascope Libraries, New York City. Com-
edy features for this month are Harry Langdon
in Saturday Afternoon, Max Davidson in Flam-
ing Fathers and Charley Chase in Be Your Age.
■ Manhattan Film Rental Library, Brooklyn,
N. Y. A list of varied and interesting subjects
for rental and sale is ready for distribution.
Both 100 foot and 400 foot films are included
in this list.
■ Mogui.l Bros., New York City. This dealer
has an extensive list of films to offer, both silent
and sound on disc.
| Solar Eclipse Film Co., West Somerville,
Mass. A complete record film of the 1932 total
eclipse of the sun or short lengths of special
phases to complete one's own film record are
offered by this company.
■ Willoughbys, New York City. Good sport
subjects are listed by this dealer as well as
many feature length films with outstanding stars
of the professional field.
Here's a Thrill
greater than your first movie
Th
mpro
You haven't seen the real beauty that's in
your films until you project them with a
new 400 watt Ampro. You'll actually see
things in them you never saw before. Prove
this statement by letting me send you one of
these truly amazing new machines. Thrills
galore await you — and the price is only
$175. Big allowance on your old projector.
Write me at once for a proposition.
Over 100 BIG BARGAINS
in new and used Cine equipment on our
November list. Every one a real money
saver. Drop us a line — a card will do — and
we'll send the list. Write today.
WOLK CAMERA CO.
219 S. Dearborn St., Dept. MM11
Chicago, III.
-REAL BUYS AT M0GULL-
Eastman, B & H 400' Aluminum Reels 38c
Humidors 45c Cement 20c
3%" Cooke Telephoto Lens $40
100' Kin-O-Lux 16mm. Film with Process $ 3
Cine-Kodak Model "K" //1.9 & Case $115
NEW VICTOR 10 FH Projector COMPLETE, $142
KODACOLOR FILTERS and LENSES Vs OFF
(For Bell-Howell and Kodak Projectors &
Cameras)
MOGULL CRYSTAL BEADED SCREEN *4Q Eft
39 x 52 Spring Roller in metal case. . . dlfciDU
7' x 9' crystal beaded screen on spring
roller in metal case $64.50
30 x 40 White Beaded, on Roller $4.86
EVERYTHING IN PATHEX 9'/2 mm.
BELOW WHOLESALE PRICES.
Just Off the Press — Free List
LARGEST LIBRARY— FREE MEMBERSHIP
16mm. — 9'^mm Sound On Disc and Silent.
Mogull Bros., 1944 Boston Rd.,N.Y.C.
DIRT TRACK DAREDEVILS
100 ft. 16 mm. $2.90
Famous Drivers — Famous Cars
You will enjoy this thrilling picture.
MERRY CHRISTMAS & A HAPPY NEW YEAR
title on moving background 35c or free with 10 ends at
$1.00. Moving background on all ends, no two alike,
each two and one-half ft. long. Moving background
titles at 35c for 8 words.
HAZEN COON
H. C. FILM SERVICE 12191 llene Ave.. Detroit. Mich.
USE
ART
OH smart designs
OU and styles to
suit all occasions.
Use as many as you
| CC like, without extra
!■■ ""iw charge. Exquisite
^^^^™^™^^^^ type style. Brilliant,
clear, clean-cut letters. Ample footage.
Quality and uniformity positively guaran-
teed. Any title 8 words or less 25c. Extra
words 3c each. Minimum order $1. Send
today or write for fully illustrated folder
showing all styles and designs.
ART TITLE GUILDE
5519 Broadway, Chicago, III.
512
NOVEMBER 1932
(Continued from -page 510)
MICHIGAN
Detroit: CLARK CINE-SERVICE, Rm. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores. Inc., 1235 Washing-
ton Blvd.; 156 I.arned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co., Dept. 290.
E. B. Meyrowitz, Inc., 1516 Washington Blvd.
Flint: Gardner Photo Service. 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Michigan
Ave., W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 330 W.
Superior St.
Leroy: The Edison Store.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc.. 825 Nicollet Ave .
National Camera Exchange. 5 S. Fifth St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
E. B. Meyrowitz, Inc.. 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St
Hanley's Photo Shop, 116 E. 10th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
MONTANA
Billings: Midland Drug Co., 23 N. 27th St.
NEBRASKA
Lincoln: Eastman Kodak Stores, Inc., 1217 O
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Stores, Inc.,
1735-37 Boardwalk.
Bayonne: Harry Kaplan, 534 Broadway.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Jersey City: Graefs Service Pharmacy, 478 West-
side Ave.
Levy's Sport Shop, 149 Monticello Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakew'OOd: Artist's Photo Service, 19 Fourth St.
Montclair: Edward Madison Co., 427 Bloom-
field Ave.
Morkistown: Ajeniian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
T. C. Reiss, 10 Hill St.
Schaeffer Co., 103 Halsey St.
Paterson : Robert G. Smith, 40 Hamilton St.
Walker Radio & Elec, Co., 318 E. 33rd St.
Summit: Eastman Bookshop. 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson. 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
West New York: Rembrandt Studio, 526 "d"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadway.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co.. 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 305 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 145 E. 60th St., nr. Lexington
Ave.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
Abe Cohen's Camera Exchange, 120 Fulton St.
Columbus Photo Supply, 146 Columbus Ave.
Crown Motion Picture Supplies, 311 W. 44th
St.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop, Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall & I.embke, Inc., 7 E. 48th St.
Gillette Camera Stores, Inc., 117 Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Joseph P. Hackel, Rm. 1919, Chanin Bldg.,
122 E. 42nd St.
Hecker's Camera Store, 1519 Amsterdam Ave.
HERBERT & HUESGEN CO., 18 E. 42nd
St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician, Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
LUMA CAMERA SERVICE, INC., 302 W.
34th St.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz, Inc., 520 Fiftli Ave.
MOGULL BROS., ELECTRIC CORP., 1944
Boston Rd.
New York Camera Exchange, 109 Fulton St.
Newman's Camera Shop, 1197 Sixth Ave.
Y. Nomi, 174 W. 95th St.
Parker and Battersby, 146 W. 42nd St.
RAB SONS, 1373 Sixth Ave.
Schoenig & Co., Inc., 8 East 42nd St.
Frank Tanham & Co., Inc., 9 Church St.
WILLOUGHBYS, 110 W. 32nd St.
Northport: R. E. Sears, 487 East Main St.
Owego: Liberty Photo Co., 34 Lake St.
Rochester: Marks & Fuller Co.. 36 East Ave.
Sibley, Lindsay & Curr Co., Kodak Dept.
Rome: Fitchard Studio, 133-135 W. Liberty St.
Schenectady: J. T. and D. B. Lvoh, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, P. O. Drawer 522.
Westhampton BEACta: Billy's Radio Service,
Main St.
Yonkers: Joseph F. Blatzheim, 4-6 Riverdale
Ave.
NORTH CAROLINA
Charlotte: W. I. Van Ness & Co., 213 N.
Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard St.
Cincinnati: Auto-Rad Supply Co., N. E. cor.
Court & Syracuse Sts.
Eastman Kodak Stores, Inc., 27 W. 4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416J4 Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Dept. 90, Public Square.
Home Movies Co., 2025 Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply. 62 E. Gav St.
Home Movies Co., (Baker Art Gallery) 234
S. High St.
Don McAlister Camera Co., 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth: V. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Pendleton: Floyd A. Dennis.
J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept., Fifth,
Washington & Alder Sts.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Y'oung & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1020 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: Johnstown News Co., 115 Market
St.
Lebanon: Harpel's, 757-9 Cumberland St.
Philadelphia: Camera Shop, 51 N. 52nd St.
G. P. Darrow Co., Inc., 5623-5 Germantown
Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio. 20th and Chestnut Sts.
Klein 5 Goodman, 18 S. 10th St.
M & H Sporting Goods Co., 512 Market St.
MacCallum Stores, 1600 Sansom St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton: Houser's, 133 N. Main Ave.
Jermyn Bros., 205 N. Washington Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware Co., Sporting Goods
Dept., 115 E.- Independence St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Pawtucket: Thomas N. Simpson, Broadway and
Exchange St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
I>1.
Westcott, Slade & Balcom Co., 95-99 Empire
St.
TENNESSEE
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 249 Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Shop, Inc., 113 W. 6th
St.
Chas. G. Lord Optical Co., 704 Main St.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
WASHINGTON
Bellingham: Clyde Banks, 119 W. Holly St.
Pasco: New Pasco Drug Co.
Pullman: R. R. Hutchison, Hutchison Bldg.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman Kodak Stores, Inc., 1415-4th Ave.
Lowman & Hanford Co.. 1514-3rd Ave.
Spokane: John W. Graham & Co.. Dept. C
707-11 Sprague Ave.
MOVIE MAKERS
513
Joyner Drug Co., Howard & Riverside Ave.
Tacoma: Eastman Kodak Stores, Inc., 91U
Broadway.
Walla Walla: Book Nook Drug & Stationery
Store.
WEST VIRGINIA
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Bloomer: Dettloff's Pharmacy.
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service. 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
W. E. Brown, 327 W. National Ave.
Eastman Kodak Stores, Inc., 737 N. Milwau-
kee St.
Photoart House of Milwaukee. 220 Wells St.
Oshkosii: Coe Drug Co., 128 Main St.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon: Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 124 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
CaI'B Town: Kodak (South Africa) Ltd., "Ko-
dak House," Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa I'C: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South Hales
Sydney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Harringtons, Ltd., 386 Gjorge St.
Kinelab Film Service, Adams' Bldg., 484
George St., opp. Queen Victoria Market.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhampton: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsvii.i.e: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harrington's, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
West Australia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores. Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Hudson's Bay Co., Ltd., Retail Store, Dept.
230, X.
Ontario
Hamilton: W. E. Hill & Bro., 90 W. King
St.
Ottawa: Photographic Stores, Ltd.. 65 Sparks
St.
Toronto: Associated Screen News. Ltd.. Tivoli
Theatre Bldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St., W.
T. Eaton Co., Ltd., Dept. D30, 190 Vonge St.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave. at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd.. 286 Craig St..
W.
886 St. Catherine St., W.
Gladwish S: Mitchell, 7 Cypress St.
Home Films, Ltd., Keefer Bldg., 1440 St.
Catherine St., W.
Saskatchewan
Kegina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393
Nanking Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cyneca-
meras, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Colin, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 18-19 Duke St.
Bristol: H. Salanson it Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kent: F. J. Bedson, 50 Widmore Rd., Bromley.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars. 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate St.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd.,
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd.,
119 Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Kodak, Ltd., Kingsway.
Sands, Hunter & Co., Ltd., 37 Bedford St.,
Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 Bond St.,
47 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., Dept. 109, 400 Ox-
ford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak, Ltd., 32 Grainger
St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str. 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361. W.
Den" Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Broerstraat 4S.
Rotterdam: Bollemeijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz U-4.
INDIA
Ahmedabad: R. Tolat & Co., Bawa's St.,
Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornb; Road.
Hamilton Studios. Ltd., Hamilton House, Gra-
ham Road. Ballard Estate.
Calcutta: Army & Navy Cooperative Society.
Ltd., 41 Chowringhee St.
Photographic Stores & Agency Co.. 154
Dhuramtolla St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandm
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa Ik Co., Ltd., Sanjo Kobashi.
Osaka: Shueisha, 25 Kitahama 4 Chome.
Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agenda Postal 25.
Casa Calpini. S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Indepenclencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Frank Wiseman, Ltd., 170-172 Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworths, Ltd.. 705 Colombo St.
Dunedin: Kodak New Zealand. Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
294 Lambton Quay.
Waterworths. Ltd.. 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien A S. Neclre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine. 103'A St. Vincent
St.. C. 2.
Kodak, Ltd.. 46 Buchanan 15t.
J. Lizars, 101 Buchanan St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Socieclad Anonima, Puerta de!
Sol 4
Avenida Conde de Penalver 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak. Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 39 High St.
SUMATRA
Medan: V. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet. Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Freiestrasse 74 (So-
deck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co.. Bahnofstr. 61.
Winterthur: Alb. Hoster, Marktgasse 57.
$3 a year (Canada, $4.00,
Foreign, $3.50) ; 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
SATURDAY AFTERNOON
Featuring Harry Lungdon and Vernon Dent
When the Saturday noon whistle blows, Harry dutifully starts home with his pay envelope to a nagging wife. One of his friends suggests that Harry
join him in an "afternoon out." After a chilly home-coming, Harry agrees — with very comical and hilarious results. One long laugh. 2 reels.
IMPORTANT ANNOUNCEMENT
New 5th Edition, 210 page, Illustrated, Descriptive Catalogue contains over 100 new subjects, drops many
of the older ones and reduces rentals of many others.
•
Also Catalogue of
KODASCOPE ft LIBRARY
For owners of the new 8mm. equipment — at lower cost than 16mm.
- ■ • —
Cine equipment dealers who are interested in film library rental business should send
for our booklet, "How the Kodascope Library Brought Prosperity to Our Store."
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
BE YOUR AGE
Charley Chase, a bashful clerk, is forced by his lawyer employer to
propose to a wealthy widow, so that his employer can manage her estate.
Her son (Oliver Hardy) naturally objects. Action is rapid and entertain-
ing always with these clever comedians. 2 reels.
FLAMING FATHERS
Max Davidson in strenuous efforts to prevent his daughter's elopement
and marriage. From the rumble seat he is shaken through to the engine
compartment, emerging begrimed. At the beach he loses his bathing suit,
acquires a policeman's coat, loses his daughter and gets a wife's scolding.
Classified a d v e r t i s i
n-g
| Cash required with order. The closing date for
the receipt of copy is the tenth of the month
preceding issue. Remittances to cover goods of-
fered for sale in this department should be made
to the advertiser and not to Movie Makers.
10 Cents a Word Minimum Charge, $2.
EQUIPMENT FOR SALE
■ BASS BARGAIN COUNTER: Save big
money! Culminating- over twenty years of su-
perior values. Pick yours. Photoflood reflector,
stand with bulb, $3.85. Almost new Stewart-
Warner latest model four speed camera, f/3.5
lens, carrying; case, $37.50. Bell & Howell
Model 57 projector, perfect condition, with car-
rying case, listing- at $190.00; price $67.50.
Almost new Victor Animatophone, complete re-
cent model, ready to use with amplifier, listing
at $450.00; price, $145.00. Peko Maestro 16mm.
sound projector, complete in turntable, 33 and
78 revolutions, with amplifier and speaker, listed
at $255.00; special at $95.00. Filmo 70A, with
Cooke //3.5 lens and carrying case, listing at
$140.00; price, $62.50. 30x40 solid frame bead-
ed screen listing at $12.50; price, $2.55. Nearly
new Filmo 70D, latest model, brown finish with
1" Cooke f/3.5 lens, listing at $251.00; price,
$176.00. Hundreds of other bargains. Bass Bar-
gaingram No. 209 and supplement sent on re-
quest. BASS CAMERA CO., 179 W. Madison
St., Chicago. 111.
■ SELECTED 1 6mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ SIMPLEX FADING GLASS will produce
fade in or fade out in your own movies. With
instructions and carrying case, $2.00. ERNEST
M. REYNOLDS, 165 E. 191st St., Cleveland,
Ohio.
■ LIBERAL ALLOWANCES for your old
model camera. Kodatoy, or obsolete movie
equipment, toward the new Cine-Kodak Eight
camera or projector. NATIONAL CAMERA
EXCHANGE, '5 South 5th St., Minneapolis,
Minn.
■ THE BOOK which tells how to get profes-
sional qualitv pictures by simple methods. Camera
Secrets Of Hollywood by Robert C. Bruce. $1.00
postpaid in U. S. Address CAMERA SE-
CRETS, 1040 N. Las Palmas, Hollywood, Calif.
■ ANSCO RISDON 16 mm. cameras, new,
$16.50; Agfa Reversal film, panchromatic, 50
feet, $2.60; 100 feet, $5.00; supersensitive, 50
feet, $3.25; 100 feet, $6.00. All goods fully
guaranteed. EASTERN MOTION PICTURE
SERVICE, 6139 Jefferson St.. Philadelphia, Pa.
■ NEED CASH, will sacrifice B & H 70A
Cooke f/3.5 lens, good condition, $60.00; also
DeVry 57C projector, like new, $50.00. W. F.
MECHTEL, 4930 N. Troy St., Chicago. 111.
| VICTOR Master projector with variable
rheostat. Accommodates 165W, 30V lamp and
all other lamps. Certified perfect condition.
Cost $230. Sell $100. E. 1MHOFF, 456 N.
Booth, Dubuque, Iowa.
■ PRACTOS exposure meter, $4.50 (new).
Trade in your used tripods, lenses, films, and
equipment. Lowest prices on Eastman reversible
film. CINECRAFT COMPANY, 80 Boylston
St., Boston, Mass.
■ PROFESSIONALIZE your films with lap
dissolves and any other double exposures with
my $10.00 Rewind Key for Cine-Kodaks M, B,
BB, and K. WM. J. GRACE, ACL, Kirby
Bldg., Dallas. Texas.
■ CINE-KODAK Model M, //3.5 lens and
case, $37.50; Cine-Kodak Model B, //1.9 lens,
$60.00; Ensign Super Kineram. turret front with
1", f/2.6 Cinar; 3" //4.5 and 6" //4.5 Wol-
lensak telephoto lenses, $150.00; lea Kinamo,
S-10, //2.7 Carl Zeiss lens, $40.00; Filmo pro-
jector Model 57 G-l, 250 watt bulb, variable
resistance and ammeter, $122.50; Ampro Model
SD, 400 watt bulb, $125.00; Agfa Ansco pro-
jector, 200 watt bulb, $60.00; Keystone Model
A-74, 200 watt bulb, $34.50; 15mm., //2.7 Carl
Zeiss lens, fixed mount, $20.00; ji" Meyer
Trioplan, //2.9, focusing mount, $19.50; 1"
f/l.S Cooke, focusing mount, $20.00; 3" Meyer
Tele-Megor //4, focusing mount, $36.00; Willo
exposure meter, $5.00; B & H Photometer and
case. $10.00; Magnetic title board with letters,
S12.00. WILLOUGHBYS, 110 W. 32nd St.,
New York City.
EQUI PMENT WANTED
■ WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
An
IMPORTANT
ACCESSORY
MOVIE MAKERS
SHOULD HAVE
A light weight, durable
BINDER, with specially
patented fastener device
in which to file twelve
issues of MOVIE MAK-
ERS Magazine for handy
reference whenever need-
ed.
$1.50 each ($.30 addi-
tional postage for Cana-
dian and foreign orders.)
Amateur Cinema League, Inc.
Binder Department
105 West 40th Street
New York, N. Y.
FILMS WANTED
PERSONAL OPPORTUNITIES
■ MAKE YOUR CAMERA bring you an in-
come instead of expense. Earn good money
right where you live selling your photographs to
magazines, newspapers, advertisers. Immense
demand. Delightful money making, spare time
occupation, quickly learned at home through U.
P. training in Journalistic Photography. Low
cost. May earn while learning. Write for
Free Book today. UNIVERSAL PHOTOG-
RAPHERS' CORP., Dept. 1, 10 West 33rd St.,
New York.
■ WANTED, good used 16mm. films, 100, 200,
400 ft. lengths. Give titles, producer, price
wajited. J. W. WEST, Box 841, Portland,
Maine.
FILMS FOR RENTAL OR SALE
■ PIXY PICTURES (25 ft.) 16mm. short sub-
jects complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. Also many 100 ft. travel-scenics at
$4.50. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
■ 35MM. NEGATIVE fresh Eastman and Du-
pont stock — panchromatic — supersensitive — gray-
back. 100 ft. daylight loading rolls, $2.75 each.
Sept. rolls, 1 dozen, $4.00. Also lengths from
50 ft. to 400 ft., at prices ranging from 2 to
2V2c per foot. WARRANTED FILMS, INC.,
729 Seventh Ave., N. Y. C.
■ SEND FOR GUY D. HASELTON'S new il-
lustrated booklet describing all TRAVEL-
ETTES! 7901 Santa Monica Blvd., Hollywood.
■ 16MM. EDUCATIONAL, comedy, cartoon
films consisting various subjects, little used,
perfect condition. Comprise private collection
having served purpose of owner, available at
one half original cost. Cinegraph, Snap, The
Gingerbread- Man In Moon, special ; also Suaf,
Wildest Africa, Doodle Bug Circus and Felix
All Puzzled, total 400 ft., one reel, $15.00,
Cinegraph, Ship Shape, No. 4510, 200 ft., $7.50.
Pathegram, Harry Langdnn, His Marriage Wow,
No. 7015, 400 ft., $15.00. Pathegram, Harry
Langdon, All Night Long, 400 ft., $15.00. 200
ft. of football game Harvard-Yale and Yale-
Army, $7.50; 200 ft. Felix On The Trail and
Felix Finds 'Em Soft, $7.50. Any of the above
films while available will be forwarded prepaid
upon receipt of check in full payment. Not avail-
able on approval. All films will be found in
perfect condition. FREDERICK L. HOLMAN,
23 E. Maple Ave., Merchantville, N. J.
B QUALITY 16mm. prints showing scenic
wonders of Oregon. Selected shots from 35mm.
negative. These reels used to advertise Ameri-
can Legion Convention recently held in Portland.
Full 400 ft. in length in first class condition.
Only 24 prints. First come, first served at $10.
cash. MERRIMAN H. HOLTZ, 331 Washing-
ton St., Portland, Ore.
■ SUN'S 19S2 TOTAL ECLIPSE, first on the
market, 16mm., 200 feet, authentic, startling,
$15. prepaid. Sell various phases, 50c per foot,
totality, diamond ring. SOLAR ECLIPSE FILM
COMPANY, 32 Pearson Ave., W. Somerville,
Mass.
FILMS FOR EXCHANGE
■ EXCHANGE EXCLUSIVELY— Our library
was the first to reduce the price of EXCHANGE
to $1.00 for 400 ft. films and maintain its
STRICTLY HIGH CLASS SERVICE. Exchange
prices: 400 foot reel, $1.00; 200 foot reel, 50c;
100 foot reel, 25c. RETURN POSTAGE RE-
QUIRED. We positively will not accept pictures
with broken perforations and scratched emulsion
and that AUTOMATICALLY PROVIDES A
GUARANTEE THAT YOU WILL GET
QUALITY FILMS FROM US and QUALITY
HAS NO SUBSTITUTE. CINE CLASSIC LI-
BRARY. 1041 Jefferson Ave., Brooklyn, N. Y.
TRADING OFFERS
■ SHOTGUNS, target pistols, rifles and other
good firearms accepted in trade on motion pic-
ture and photographic equipment. Authorized
Eastman, Bell & Howell, Victor, Rhamstine,
Simplex, Pathex, DeVry, Leitz and Stewart-
Warner dealers. NATIONAL CAMERA EX-
CHANGE, 5 So. Fifth St., Minneapolis, Minn.
MISCELLANEOUS
■ SPECIAL. 16mm. enlarged, 2j4"x3%", 25c.
Hand titles, 5 for $1.00. Write STANLEY,
3665% S. Grand, Los Angeles, Calif.
■ STOLEN— from COHEN'S EXCHANGE,
120 Fulton St., New York City, on Sept. 21, 3
new Felix cartoons, Doughnutty, Jack From All
Trades, Art For Heart's Sake; also 3 new two
reel comedies, Pirates Beware, Careful Please,
Only Me. There are only six prints of these
subjects in existence, all the property of Home
Film Libraries. $25.00 reward will be paid for
information leading to their recovery and arrest
of the criminal. A special reward of $75.00
will be paid for information leading to con-
viction of anyone "duping" these films.
Printed by WNU. Ne-w York
CINE-KODAK EIGHT, Model 60, is
equipped with a Kodak Anastigmat/. 1.9
lens. This lens is quickly and easily inter-
changeable with an /-4.5, i>2-inch telephoto
lens, supplied as extra equipment. The 1 >2-inch
lens records distant subjects three times as
wide and as high as they would be recorded
by the regular lens from the same distance.
When you open Cine-Kodak Eight, Model 60,
you will be struck by its resemblance to the
brightly burnished and highly accurate mech-
anism of a fine watch. Price $79.50, including
carrying case finished to match the camera in
two-toned grey cowhide.
Kodascope Eight, Model 25, couples eco-
nomical movie projection with added screen
brilliance and the ability to operate on either
A.C. orD.C. 100 to 150 volt lines. Price $34.50.
Besides these two new members of the Eight
family there are the $29.50 Cine-Kodak Eight,
Model 20, with its /I3.5 lens — Kodascope
Introducing. . .
CINE-KODAK
EIGHT, MODEL 60
KODASCOPE
EIGHT, MODEL 25
J\nother new camera and pro-
jector using the new film that
cuts movie costs nearly 2 /
Eight, Model 20, costing but $22.50 — and
Kodascope Eight, Model 60, a highly accom-
plished projector with unusual screen bril-
liance and many other refinements. Price $75.
Two cameras — three projectors — all bring
you lower cost movie making. For all use the
new-principle Cine-Kodak Eight Film that cuts
movie costs 62^%.
See the Eights and the movies they make at
your Cine-Kodak
dealer's. Spread
the news to your
friends who have
felt they could not
afford fascinating
home movies.
The new Kodascope Eight,
Model 25, for ioo to 150
volt A.C. or D.C. lines.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y
MOVIE
Ma&fazine of the Amateur Cinema League, Inc.
The United States has heartily approved the "new deal" proposed for its national
life and the rest of the world is sympathetic. As evidence of its full intention
to cooperate with this internationally applauded sentiment, the Amateur Cinema
League offers its own new deal to movie a ma teurs— a new offer, at this Christmas season.
MAKING BETTER MOVIES, by Arthur L. Gale, ACL, and Russell C. Holslag, ACL, of the staff of
the Amateur Cinema League, is, in itself, a new deal in books on amateur movies. It is based upon
the unique experience of these two authors in answering more amateur inquiries than anyone else.
Here is a new statement of the technique of personal movies, from a strictly amateur point of view.
The book starts with the beginning amateur and gives him just what he needs in simple terms —
camera handling, diaphragm setting, projecting, si mple editing — and then moves on to the slightly
more experienced worker, next to the average filmer and last to the advanced amateur, a chapter for
each group. It is MORE THAN 200 PAGES of large, clear type on good paper, with illustrations.
Here is the League's 1932 Christmas gift.
This most important single publication on the art of amateur movies, since the introduction of personal motion pictures,
is AVAILABLE ONLY TO MEMBERS OF THE AMATEUR CINEMA LEAGUE. It cannot be purchased. It is free to
League members and to them only.
If you are not a League member, enjoying its remarkable services to amateurs — services that have attracted members
from every corner of the globe — you are urged to secure your membership early, while the supply of MAKING BETTER
MOVIES lasts. The membership fee of FIVE DOLLARS will bring you all of the League's services, including the
regular receipt of Movie Makers, and the special Christmas gift of MAKING BETTER MOVIES.
Act at once upon this "new deal." Use the coupon below and insure getting your copy of this unique book.
Five Dollars Will Bring You a Membership and Making Better Movies
AMATEUR CINEMA LEAGUE, Inc.
105 West 40th Street Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc.
My remittance for $ made payable to AMATEUR
CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of this
amount, I direct that $2 be applied to a year's subscription to MOVIE
MAKERS. (To nonmembers, subscription to MOVIE MAKERS is $3
in the United States and possessions; $4.00 in Canada, $3.50 in other
countries.)
MEMBERSHIP.
a year (CANADA $6)
LIFE MEMBERSHIP,
and no further dues.
.$100 in one payment
AMATEUR
CINEMA
LEAGUE, INC.
Name Street.
City.
State Country.
D-32
105 West Fortieth Street
New York, New York, U.S.A.
MOVIE MAKERS
519
PROJECTOR
is Greatest VALUE/
500 Watt Mazda — the power behind the film — that means
light — plenty of clear, intense light. Large, brilliant, pure
white pictures at any distance up to 100 feet. More real
projector value than ever before offered at this complete
with case price of $125.00.
STEWART-WARNER
16mm. PROJECTOR
BASS . . . National Movie Headquarters . . .
wants you to try this fine, modern 16mm. pro-
jector with an abundance of clear, intense light.
Note Features: Runs forward and reverse — New high speed
automatic rewind clutch—Single picture clutch — Attached
pilot lamp— Large U niversal A. C. - D. C. motor — Easy
threading — Easy tilting adjustment — 500 watt Prefocus
Mazda — Forced draft cooling — Central control panel —
Sound disc attachment — Independent switch on light — Quiet
purring operation. $125.00. Complete with case.
^Visible
Demonstration.
of Comparative
T/aluesrfdually
Seen on the
Screen,
GUARANTEE
We guarantee the new Stewart-Warner
Projector, 500 watt Mazda model to give
you satisfaction. I fully guarantee the pro-
jector against mechanical defects for a pe-
riod of one year. Your money refunded in
full if unsatisfactory after 30 days' trial.
(Signed) Charles Bass, President.
Here is the four speed, including
slow motion, Stewart - Warner
Camera with f/3.5 lens
and case at
With f/1.5 lens and spy
glass finder at (less case)
$55
$100
Prove in the comfort and privacy of your
own home what Bass has proven in his
own testing laboratory. Try the Stewart-
Warner Projector for thirty days. If you
don't agree with us, your money instantly
refunded in full. Fair enough? Here's the
coupon.
|— Cut Coupon jvnd 7?Uu£/—\
CHARLES BASS, Pres
□
Bass Camera Company.
I want to take advantage of your 30 day free trial. Am
enclosing for $125.00. My $125.00 to be
refunded in full upon my return of Projector to you after
30 days' trial.
I want to take advantage of your offer but wish to trade
in. . . Projector. How much can you allow me?
I am not ready to buy, send me further details.
CAMERA COMPANY
179 W.Madison St.,Chicago
NAME.
CITY STATE.
STREET
520
DECEMBER 1932
An IDEAL Projection Pair!
400 -WATT
The Ampro is the complete pro-
jector, perfect in results, con-
venient in operation, and mod-
erate in cost.
Now you can buy this 400-Watt
model, giving real theatre bril-
liance in any size screen image up
to 9x12 feet, without paying an
exorbitant penalty for this super-
illumination.
Simple, dependable forward and
reverse action, variable speed;
fastest and most convenient re-
winding. "Kick-back" claw move-
ment protects films against distor-
tion of sprocket holes or marring
of picture surface.
Innumerable other exclusive Am-
pro features will please you . . .
look them over at your dealer's.
Model A, Standard, as shown....
DeLuxe model with
automatic pilot light,
chrome plated parts,
and deluxe carrying
case.
atiPiRiD
PRECISION
PROJECTOR
and th
Here are two gifts to bring greatest happiness
to the enthusiastic movie maker! A projector that gives
big, theatre-brilliant pictures — and an easily portable,
glass-beaded surface screen that inproves the appearance
of any film shown upon it. Either will be welcomed — or as
companion gifts they make a perfect holiday remembrance.
A dealer near you will gladly show and demonstrate them
to you.
• RAY-FLEX
SCREEN
1 "
RAISES TO SEVEN EEETHIGH
$200
Ray-Flex Screens combine the advantages of perfected
glass-bead surfaces of highest reflecting value with clever,
collapsible frames and spring-tension roller-map-type cases.
From the Ray-Flex line of tripod or wall-type screens,
ranging in price from $7.00 upward, it is easy to choose
the one best suited for personal use or as a welcomed
gift. See Ray-Flex Screens and Ampro Projectors at your
dealer's — or write for all particulars to
&OPJRID
C © JRJPID1BA3CJMD.K'
2839-5/ NORTH WESTERN AVENUE
«EJFJ[]r;<EAJB-«D
©CIB 173371
521
NOV 28 |932
MOVIE MAKERS
The magazine of the Amateur Cinema League, Inc.
Contents
Volume VII December, 1932 Number 12
Publishers'
Cover design Lloyd Coe
Annual index 524
Christmas gifts 526
Closeups 528
"Why I film" contest 532
Here to stay, editorial Hiram Percy Maxim, ACL 535
Snow vistas, photograph L. L. Richards, ACL 536
The ten best 537
Lighting the festival Russell C. Holslag, ACL 539
The clinic Russell C. Holslag, ACL 540
All of Christmas Epes W. Sargent, ACL 541
Winter closeups A. L. Loran 542
Filtering Christmas Horace R. Sissons 543
Using still cameras C.W. Gibbs, A CL 544
Nature's backlighting, photograph Ewing Galloway 545
Fishing with film Paul W . Kearney 546
The titles you make Norman D. Taylor, A CL 547
Please edit! Dr. Kinema, ACL 548
The fine art of titling Paul D. Hugon 552
Amateur clubs James W. Moore, ACL 553
Something from nothing Donald C. McGiehan, ACL 554
Photoplay guides Ernest W . Page, ACL, and William A. Palmer 555
Practical films 556
Book now ready 557
News of the industry 558
Art title background, photograph Publishers' 559
Book reviews 567
Mr. Henpeck models, scenario Howard Desmond 568
Free films 572
Around the world with Movie Makers 576, 578, 580
Featured releases 581
Editor
ARTHUR L. GALE
MOVIE MAKERS
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year, postpaid (Canada $4.00, Foreign $3.50) ; to members of the Amateur
Cinema League, Inc., $2.00 a year, postpaid (Canada $3.00); single copies, 25c. On sale at photo-
graphic dealers everywhere. Entered as second class matter August 3, 1927, at the Post Office at
New York, N. Y., under Act of March 3, 1879. Copyright, 1932, by the Amateur Cinema League,
Inc. Title registered at United States Patent Office. Editorial and Publication Office: 105 West 40th
Street, New York, N. Y. Telephone PEnnsylvania 6-6836. Advertising rates on application. Forms
close on 10th of preceding month.
RUSSELL C. HOLSLAG Advertising Manager
JAMES W. MOORE Assistant Editor
FREDERICK G. BEACH Technical Assistant
ALEXANDER de CANEDO Art Editor
522
DECEMBER 1932
The Filmo Guide
Gifts easy to buy +
KODACOLOR EQUIPMENT FOR CAMERAS AND PROJECTORS
Equipped with special Kodacolor filter, the Cooke
1-inch F 1.8 speed lens lets any Filmo take movies
in full color. Filters removed and attached in a
moment. Give this Kodacolor lens outfit and you
give a thrill that lasts forever. The lens, dtJ^C?
complete with filters tJpiO
Any Filmo Projector may be equipped with a
Kodacolor projection lens assembly for showing
Kodacolor movies. Special condenser included.
Just replace the regular projector lens with Koda-
color assembly and you're ready! tifcQC
Assembly complete «jPOO
Without condenser for Projectors without auxiliary
condenser slot $30
B & H CHARACTER TITLE
WRITER
Here is a miniature stage, with com-
plete lighting, enabling you to make
fancy titles and "table-top" movies.
Camera mount and all ^Q^k
accessories. Complete tpOvl
B & H FILM EDITOR
The Film Editor is a complete edit-
ing and splicing outfit, including
illuminated magnifying picture
viewer, geared rewind arms, and
diagonal splicer. The Editor makes
for quick, accurate work, and is a
gift that will be greatly
appreciated. Complete
With Dry Scraper $42.50
$40
R & H PHOTOMETER
The B & H Photometer,
Imade in both "still"
[camera and Filmo
movie camera styles,
gives you your exact ex-
posure reading for lens
setting (shutter speeds
and emulsion speeds
also) in ten seconds.
You see the important
part of your object
I , through a lens and
^ match its brilliance with
a rheostat-operated electric filament.
This is one of the most accurate and
easy to use exposure meters ever de-
vised. Either "still" or df»Ork
Filmo model, with case f^^Aj
Without case $17.50
B & H FILM SPLICER
Gives the famous di-
agonal splice that
won't break.
Pilot pins give
^ correct angle.
Complete,
$7.50
With Dry
Scraper . . .$10
COOKE TELEPHOTO LENSES
Made by old-world lens
experts, Cooke Telephoto
Lenses make an excellent
gift, bringing a new world
■of subjects to the movie
maker. All faraway scenes
become closeups. The 2
and 3-inch lenses for near-
by shots, the 4 and 6-inch
for long ones. 2-inch F 3.5
lens or 4-inch F 4.5dfo/'r|
lens, each <J)OU
Others slightly more.
B & H DRY SCRAPER UNIT
Here is a new Filmo accessory that
greatly aids splicing. Dispenses with
use of water in scraping film. Auto-
matically cleans right area. Attaches
to splicer block. ti&O 7C
Scraper <JP^» * O
B & H REWINDER & SPLICER
The B & H
Rewi n der
and Splicer
is composed
of two rewind arms, one geared,
mounted on block with diagonal
splicer. Picture viewer can rfh"| A
be added later. Complete. .. .epA^1
With Dry Scraper $16.50
BELL &
HOWELL
Bell & Howell Co., 1843 Larchmont Ave., Chicago; New York,
MOVIE MAKERS
52J
for Gift Shoppers
+ and easy to receive
COOKE WIDE
ANGLE LENS
The new Cooke
15 mm. F 2.5 lens
is indispensable for
the active movie-
maker. Gets full
sized picture areas
in cramped quar-
ters. Excellent for indoor work. Made
with jewel-like precision. In
focusing mount
In universal focus mount $45
55
B&H EXTRA- BRIGHT SCREEN
The B & H Ex-
tra-Bright Screen
has a special
metallic surface
which gives tre-
mendous bril-
liancy to even
dull films. Par-
ticularly powerful for Kodacolor pro-
jection. Has convenient reversible
inner frame feature to protect surface
when you put screen away d&Ol
after using. 20 x 27 inches. . <P^J_
30 x 40 inches $39
B&H REELS AND CANS
Reels are
self-
' threading.
Just press
film against hub. Cans tell you when
they need water. Sturdily made of
aluminum.
Reel or Can
.75
COOKE SPEED
Cooke 1-inch F 1.8 (right
above). This speed lens was
especially designed not only
for use with Kodacolor filters,
but for black and white movies
as well. Famed for its clear
definition, as are all Cooke
lenses, it is by the same
makers who supply, exclu-
sively, most professional cine-
matographers. (£ld^.fi
The F 1.8 ?tPOU
Cooke 1-inch F 1.5 lens. . .$65
LENSES
The new Cooke 1-inch F 1.3
speed lens (left, below) has
the fastest working speed yet
satisfactorily attained in a
Filmo Camera lens. Used with
supersensitive film, it has
nearly twice the speed of the
F 1.8. This is a gift that will
be cherished, because it gives
movies under "impossible"
conditions. The dt»Tf?
F 1.3 lens <P iO
FILMO ENLARGER
This Filmo Enlarger makes "still"
camera negatives of any frame in your
movie film by projecting the scene
onto the negative within a light-tight
box. Attached to Filmo Projector in
a moment. Your photo finisher can
develop and make the prints, 2% x
31/! inches in size, or enlarge them
if negative is extra <J?OQ CA
good. Complete ?|p^O»OvJ
FILMADOR— A THERMO-
HUMIDOR
^ Outer container, insul-
:tt| ated from inner can,
restrains temperature
J changes. Inner can lid
seals moisture in. Pre-
serves film moist and pliable for
months without attention. Holds
three 400 ft. reels. tfftP'
Filmador ^P*-)
Filmo
Hollywood, London (B&H Co., Ltd.) Established 1907
B&H FILM CLEANER
Static electricity generated by fric-
tion during running of film attracts
much dust and grit. The Film Cleaner,
attached to projector, removes this
automatically. Makes any film
brighter.
Complete
$13.50
B&H ALL-
METAL
TRIPOD
The B & H All-
Metal Tripod is of
tubular construc-
tion, strong enough
to support 200 lb.
man. Ingenious
pam-tilt head oper-
ates on large
smooth bearings
with even move-
ment. Adjustable
leg length, rigid at
any height. Spirit level. Removable
rubber leg tips. Can't tip over. Used
by professional news cameramen
with Eyemo 35 mm. hand cameras.
With zipper case $4o.50
Without case $36
524
DECEMBER 1932
Topic index
ACL annual meeting:: 321
Acting: 204.
Adding shots to a completed film: 479.
Aerial filming: 14S.
Airplane filming: 148; 336.
Amateur clubs: IS; 61; 104; 150; 206; 253; 299;
342; 388; 435; 481; 553.
Amusement park filming: 387.
Animated titles: 11, item 3.
Animation: 202, item 5; 540, item 1.
Aquarium filming: 149; 546
Art title backgrounds, discussion: 151, item 2.
Art title backgrounds, photographs: 109; 146;
175; 196; 354; 437; 488; 508; 558.
Automobile movie making: 382.
Autumn filming advice: 482.
Backlighting: 293, item 1; 427.
Baseball movie making: 385.
Before the lens effects: 147.
Boat filming: 338.
Book reviews: 167; 567.
British amateurs: 33; 118; 172; 315; 366; 404;
453; 500; 579.
Burlesques: 429.
Business filming: 63.
Camera additions: 19; 75 (Angles); 114.
Camera angles: 155; 386.
Camera stand: 114.
Camp filming: 291.
Chapin gets cabinet post: 405.
Children in films: 429.
Christmas filming: 541.
Christmas gifts: 526
Church films: 112.
Cinematic vest: 11, item 4.
City filming: 429.
Clarity in continuity: 12.
Clinic, The: 11; 60; 106; 151; 202; 257; 293;
340; 384; 425; 480; 540.
Closeups, use of: 249.
Closeups — What amateurs are doing: 35; 72;
126; 179; 231; 271; 322; 361; 398; 420;
502, 528.
Cloud filming: 540, item 3.
Comedies, amateur: 58.
Continuity: 199, 386.
Continuity, Kodacolor: 295.
Continuity, simple: 153.
Correction: 257, item 1.
Critical focusing: 105.
Dog show filming: 383.
Eastman, George: 197.
Eclipse filming: 300; 307 {Clinic); diagrams:
312; 340, item 5.
Edge lighting: 384, item 1.
Editing, arrangement of subject matter; 16; 101;
487.
Editing, board: 485.
Editing, elements of: 99.
Editing, mechanics of: 485.
Editing, need for: 548.
Editing odd shots: 55; 173; 554.
9; 51; 97; 145;
245;
154;
289;
209;
333;
245.
273;
Editorials: 9; 51; 97; 145; 195;
377; 423; 475; 535.
Educational films: 20; 62; 107;
See Practical films.
Eight millimeter camera and projectors: 335.
Equestrian filming: 426.
Exposure errors: 250.
Fades: 60, item 4; 147; 425, item 3.
Fairs, filming of: 387. .
Family films: 478.
Featured releases: 6; 71; 116; 170; 226;
321; 360; 407; 418; 511; 581.
Film backing: 402 (Asked and answered).
Film freezing: 570 (Asked and answered).
Filters, analysis of: 381.
Filter factors: 60, item 3.
Filter use: 106. item 1; 203; 222 (Asked and
answered); 257, item 1, item 2; 294; 380,
item 2; 543.
Fishing films: 152.
Flares: 340, item 1.
Focusing errors: 250.
Fog effects: 440 (Stunt of the month).
Football filming: 477.
Framing: 105, item 2.
Free films: 37; 76; 124; 174;
405; 459; 507; 572.
Gas welding in Kodacolor: 160.
Garden filming: 248.
Hallowe'en movie making: 434.
Honduras, filming in: 157.
Horseshow filming: 426.
Hotels and inns use motion pictures:
227; 317; 365;
54.
Humidors, making your own: 202, item 4.
Hunting filming: 430.
Indoor sports filming: 13.
Industrial filming: 63.
Tnsect filming: 248.
Iris: 147.
Iris, making your own: 293.
Tune filming: 256.
Kodacolor: 160, 295.
Kodacolor filters: 402 (Asked and answered).
Kodacolor in autumn: 380.
Kodacolor in slow motion: 384, item 2.
Lenses, checking of: 384, item 3.
Annual index
Volume VII, 1932
Lighting: effects: 59; 60, item 3; 540, item 2.
Lighting- indoors, simple: 483.
Lighting indoors, advanced: 539.
Machine filming: 105, item 4.
Making Better Movies, announcement: 557.
Medical filming: 114, 168.
Mexican travel filming: 53.
Microcinematography simplified: 14.
Mistakes of a movie maker: 345.
Molten metal, filming of: 384, item 3.
Mountain climbing filming: 343.
News of the industry: 27; 64; 119; 156; 207;
260; 304; 350; 394; 440; 558.
November filming conditions: 480, item 1.
Olympiad filming: 339.
October haze: 424.
Panoramas: 103.
Panoi aming faults: 425, item 1.
Parade filming: 298.
Pets as film subjects: 383.
Photorloods: 151, item 3; 340, item 1.
Photoplay production: 65; 204; 429; 492; 555.
Poems and songs as film subjects: 379.
Portraiture in motion pictures: 102.
Practical films: 301; 344; 392; 432; 486; 556.
See Educational films.
Prism shots: 105.
Projection: 106, item 3.
Projection changeovers: 11, item 3.
Projector aids: 498.
Projector apertures: 293, item 3; 425, item 2.
Projectors, care of: 431.
Reflectors: 340, item 4.
Rim lighting,: 384, item 1; 427.
Rodeo filming: 337.
Scenarios: 442; 568.
Scenarization: 252.
Scenic films: 249.
Seashore stunts: 341.
Side lighting: 293, item 1; 427.
Slowing down your camera: 494.
Slow motion: 222 (Asked and answered).
Slow motion in color: 384, item 2.
Snow shooting: 11, items 1 and 2; 60, items
1 and 3; 540, item 3; 545.
Snow vistas: 436.
Social welfare filming: 162.
Soft focus: 57.
Sound on disc: 205.
Sound on film: 205.
Southern travel filming: 17.
Sports continuities: 201; 297; 339.
Sports filming: 385; 430; 477.
Spring filming: 100.
Still cameras: 544.
Stop motion: 106, item 2.
Sunshades: 202, item 3.
Sunspots: 151, item 1.
Supersensitive film : 203 ; 257, item 2.
Ten best amateur films: 537.
Time condensation: 106, item 2.
Time lapse: 105, item 5.
Timing scenes: 199.
Timing with film: 480, item 5.
Tinting: 106, item 4.
Title backgrounds: 384, item 4 (See art title
backgrounds).
Titles: 103; 547.
Title areas:. 151, item 4.
Title areas, chart: 175.
Title board, making your own: 436.
Titles, lettering: 361 (Stunt of the month).
Titles, special effects: 21; 60, item 2; 202, item
1; 547; 570 (Clime).
Titles, writing: 55; 101; 552.
Travel filming: 247; 251.
Tricks: 59; 434; 480, item 4; 492.
Tricks, simple: 200; 255; 257, item 3; 292.
Tripod steadier: 402.
Tropical filming: 108; 212.
Trucking shots: 270 (Clinic); 340, item 3.
Unipod, construction of: 498 (Stunt of the
month).
Ultraviolet light: 75 (Asked and answered)
Vacation filming: 296; 338; 345; 382.
Viewfinders, lensless : 19.
Water sports filming: 297.
Welfare filming: 162.
"Why I film" contest: 389; 455; 472; 536.
Winter filming: 543.
Winter shadows: 11, item 1.
Winter sports filming: 15; 56.
Winter stunts: 484.
Title index
12... Let us be clear
13 . . , N ow they can be filmed
14. . .Microcinematography simplified
15 . . Ski shooting
16. . .Keys to editing
17 . . .Heading south f
19 . . . "Nearer to the heart's desire"
21 . . . Titles that titillate
53 . . .Movie ho, Mexico!
54. . .Ci?iemas for caravanserais
55 . . . There's gold in junk
56. . . Whiter sport films
57. . .An aid to closeups
58. . ."Psyching" cine comedy
59 . . .Simulated ci?iematics
63 . . .Celluloid that sells
65 . . . When the productio?i jails to click
99 . . .Elements of editing
100. . .Annuals and perennials
101 . . ./ share my ?iotebook
102 . .Movie portraiture
103 .."Pans" and tilts
108 . .Taught by the tropics, part I
112. . . Church a?id film take a new step
114. . .Motion picture recordi?ig of cataract
extraction
147. . .Achieving effects
148... For flying filmers
149 . .Deep sea filming indoors
152. . . Visualizing the thrills of fishing
153 . .Movies versus animated snapshots
155 . . . The camera angle
157 . . .Sailing south
160. . . Gas welding in Kodacolor
162. . .Now to plan a social welfare film
166 . . .Film fights hay fever
173. . .Plots for odd shots
197 . . . George Eastman and amateur movies
198. . .Dr. Kinema Pays a call
199. . . The time element and cine planning
200 . . . Tricking it up
201 . . .Seasoning for seasonal sports
203 . . . "Super" and filters
204 . . . On the necessity of "letting go"
205. . .Home talkies — film versus disk
212. . .Taught by the tropics, part II
247 . . . Talking of travel
248. . .Garden closeups
249 . . .Something more than scenic
250 . . . "To err is huma?i — "
251 .. . "So you're going abroad — "
252 . . .Breaking down the plot
255. . .A thesaurus of tricks
256. . .fune boon
291 . . .A camera in camp
292 . . . With what is at hand
294 . . Filter facts
295 . . .Kodacolor, unlimited
296 . . . Vacation cameras
297 . . . There's lots of fun in splashes
298 . .Strike up the band!
300 . . Once in a few ce?Uuries
335... Enter the Eight!
336 . . . Plafie filming
337 . . .Reeling while they ride 'em
338 . . The night boat
339 . . .Greece moves west
341 . . .Seashore stunts
343 . .Mountain madness
345 . . .Hits and misses
348 . .And then I went home
379 . Set it to film
380 . Autumn Kodacolor
381 . . .An analysis of filters
382. . .Riding in advance
383 . .Let Rover do it
385 . Filmer up!
386 . . .New vieivpoinls
387 . .Step up, ?ioiv, everybody!
389 . . Why a busy man films
426 . .Mount and camera
427 . .Emphasis with light
428 . . Where we live
429 . . . The mirror of burlesque
430 . . .A -hunting we will go
43 1 . . The picture on the screen
433 . . .Filming with the Founder
434. . .A Halloive'en camera
436 . . To fit every background
442 . . . The nest egg, scenario
477 . .Short but Perfect
478 . . The family problem
479 . . . Winter additions
482. . .Autumn situations
483 . . Using lights i?idoors
484 . . . New ones for winter
485 . .Editing neatly
487 . .Editorial imperatives
492. . .A film party
494 . . .Slowing down your camera
537 . . .The ten best
539 . .Lighting the festival
541 . . . All of Christmas
542 . . Winter closeups
543 . . .Filtering Christmas
544 . . . Using still cameras
546 . Fishing with film
547 . . . The titles you make
548. . .Please edit!
552 . . . The fine art of titling
554 . . Something from nothing
555 . .Photoplay guides
568 ..Mr. Henpeck models, scenario
MOVIE MAKERS
525
Here s the
'am
I
Here's what you get
for $37.50
Pathe Motocamera
with F3.5 lens
(Uses Magazine Loading Film)
Regular price $45.00
Cowhide Case
Regular Price 8.50
Pathe Model G
Projector
Regular Price 39.00
Motor
for the Projector
Regular Price 15.00
Super Reel Attachment
to accommodate
300 ft. Reels
Regular Price 18.00
One Exhibition Reel
of Film
Regular Price 1.75
One Magazine Film
for Camera
Regular Price 1.75
Total Mfrs. Catalog ™ "^^^~
Price $129.00
Our Price, Complete $37.50
Now for *p*S7»iyU you can
take your own movies and
show them on a screen at
hornet and you can also show
pictures featuring Broadway
stars, which films you can
purchase at a very small cost*
HOME MOVIE OUTFITS
Low upkeep, as well as low price, puts this wonderful
form of home entertainment within everybody's reach!
Pathe Motor-Driven
Movie Camera
and Projector
Regularly sold for $129 tn'TrV)
<So&0i*
luce
YJso
^k M Toothing else
^m^B m to buy
Because of our amazing transaction with Pathe — an unbelievably low
cash offer for their entire stock of these movie cameras and pro-
jectors— we are able to offer them to you at less than y$ of their
regular price!
Here's a Nationally Known "simple to operate" Home Movie Camera
and Projector made by experts with more than 25 years experience —
and you can now buy the entire outfit for MUCH LESS THAN THE
PRICE OF THE CAMERA ALONE— and run it at a nominal cost!
Projector operates on either A. C. or D. C. current.
They'll all be sold soon-
So act quickly!
WILLOUGHBYS
Movie Camera Headquarters
110 WEST 32nd ST., Opposite Gimbefe
526
PATHEGRAMS
CHRISTMAS SPECIAL
Christmas gifts
£«ggp
PvSfSS"
y~?
5I'
tj WW I
S«k- m-
■" ^ ^wSa
l-X — Our Gang — in "Christ-
mas Window Shopping"
Every youngster will '
go wild over this pic-
ture. The gang does
its window shopping in
a great big way. Santa
Claus brings all the
Christmas toys to life
"-» for them.
I6mm. MIDGETS
Two Complete Stories
on Each 50-Foot Reel
including an
"OUR GANG and "AESOP'S
COMEDY" an FABLE"
1. "The Picnic" and "African
Huntsman"
2. "Human Hoop" and "The
Animal's Fair"
3. "All Aboard" and "The Or-
gan Grinder"
4. "Ingenious Musician" and
"One Game Pup"
5. "Big Game" and "Bigger and
Better Jails"
6. "Youthful Kidds" and "An
Ideal Farm"
7. "Apprentice 'Smithy' " and
"Fisherman's Luck"
8. "Speed Demon" and "The
Enchanted Fiddle"
9. "Hide and Seek" and "One
Hard Pull"
10. "Wash Day" and "The Body
in the Bag"
11. "Caught" and "The Cham-
pion"
12. "Baby Brother" and "The All
Star Cast"
List Price, $2.25 for 50 ft. Reel
Frederic L Gerke
Sole Distributor
45 West 45th Street New York City
IF you know a movie maker or have
one in your family, this list will help
you to select a gift which will delight
his cinematic mind. Consult the list of
dealers in Movie Makers. They will be
glad to show you the items listed below:
Under $5
Albums for 400' reels
Cine enlargements
Duplicator lens
Exposure meters
Fading glasses
Film
Film cement
Film clips
Film magnifiers
Filters
Filter holders
Humidor cans
Lens cleaning tissue
Library films
Lighting units
Photoflood bulbs
Projector lamps
Reels
Screens
Splicers
Still cameras
Title orders
Titling letter sets
From $5 to $10
Exposure meters
Film preservation treatment
Film — panchromatic, supersensitive
and color
Filter sets
Humidors
Kodacolor filters
Lighting units
Matte boxes
Pan and tilt tripod head
Screens
Splicers
Still cameras
Titlers
Titles
Tripods
From $10 to $25
Distance meters
DECEMBER 1932
Duplicate films
Editing service
Exposure meters
Film cleaning machines
Film storage cases
Filter sets
Lens modifiers
Library films
Lighting units
Projector stands
Reverse takeup attachments for
camera
Rewinds
Screens
Still cameras
Titlers
Visual exposure meters
$25 to $50
Cameras
Cine enlargers
Editors
Editing service
Library films
Photoelectric exposure meters
Projectors
Still cameras
Telephoto lenses
Titlers
Variable view finders
Wide angle lenses
Over $50
Cameras
Effect devices
Film and projector cabinets
High speed lenses
Library films
Printers
Projectors
Still cameras
Telephoto lenses
Wide field lenses
The families of League members may
obtain the details of any of the above
articles by writing the Technical De-
partment. If desired, suggestions will
be made as to suitable gifts. When writ-
ing, give the make and model of camera
or projector, also a list of the items the
movie maker already owns so that there
may be no duplications. Immediate at-
tention will be given to these requests.
STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIRCULATION, ETC., REQUIRED BY THE ACT OF
CONGRESS OF AUGUST 24, 1912,
OF MOVIE MAKERS, published monthly at New York, N. Y.. for October 1, 1932.
State of New York,
County of New York, ss.
Before me, a notary in and for the State and county aforesaid, personally appeared Arthur L. Gale, who,
having been duly sworn according to law, deposes and says that he is the editor of MOVIE MAKERS and that the
following is, to the best of his knowledge and belief, a true statement of the ownership, management (and if a daily
paper, the circulation), etc., of the aforesaid publication for the date shown in the above caption, required by the
Act of August 24, 1912, embodied in section 411, Postal Laws and Regulations, printed on the reverse of this form,
to wit:
1. That the names and addresses of the publisher, editor, managing editor, and business managers are:
Publisher, Amateur Cinema League, Inc., 105 West 40th Street, New York, N. Y. ; Editor, Arthur L. Gale, 105
West 40th Street, New York, N. Y. : Managing Editor, none ; Business Managers, none.
2. That the owner is: Amateur Cinema League, Inc., 105 West 40th Street, New York, N. Y. Membership
corporation with no capital stock. President, Hiram Percy Maxim, P. O. Box 2102. Hartford, Conn. ; Vice President,
Stephen P. Voorhees, 10] Park Avenue, New York, N. Y. ; Treasurer, Arthur A. Hebert, P. O. Box 2102, Hartford,
Conn.; Secretary and Managing Director. Roy W. Winton, 105 West 40th Street. New York, N. Y.
3. That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent or more
of total amount of bonds, mortgages, or other securities are : None.
4. That the two paragraphs next above, giving the names of the owners, stockholders, and security holders,
if any, contain not only the list of stockholders and security holders as they appear upon the books of the
company but also, in cases where the stockholder or security holder appears upon the books of the company as trustee
or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting, is given;
also that the said two paragraphs contain statements embracing affiant's full knowledge and belief as to the
circumstances and conditions under which stockholders and security holders who do not appear upon the books
of the company as trustees, hold stock and securities in a capacity otiher than that of a bona fide owner; and
this affiant has no reason to believe that any other person, association, or corporation has any interest direct
or indirect in the said stock, bonds, or other securities than as so stated by him.
ARTHUR L. GALE, Editor.
Sworn to the subscribed before me this 27th day of September, 1932. (My commission expires March 30. 1934.)
WARREN B. SHELDON, Notary Public.
MOVIE MAKERS
527
GIVE
THE GIFT that NEVER
Stops GIVING
SUGGESTIONS
i6^M
ovie
Equipment
VICTORCameras
Whether the lucky person
on your list is a beginner,
or an experienced ama-
teur, a Victor Camera will
give a real thrill of de-
_ light. There is a Victor
I equipment priced to meet
any demand 60750
from ?0 / up
KODACOLOR
Equipment for any Model 3 or
Model 5 Victor Camera. Con-
sists of the famous Hugo Meyer
F 1.5 Kino Plasmat Speed Lens
andEastmanKodacoIor £-Tf-r%r-\
Filter Assembly *75_
VICTOR Projectors
The new highly perfected Model
10 Series of Victor Projectors of-
fer the last word in gifts for any
movie enthusiast. Ask to see them
at your dealers. * _ _
New Low Prices t |43 Up
KODACOLOR Equip-
ment for any Victor Projector.
Consists of special minus element
lens and Kodacolor Filter made
for Victor by Eastman, j. ___.
Complete $282?
o know that yours is the most
priced of all gifts .... that is the
greatest joy of giving!
That is why, for a movie enthusiast,
the ideal gift is Victor Movie equip'
ment .... it gives SO much — and
never stops giving!
It is a gift with prestige . . , ••■ a gift
that may be proudly given .... a
gift that will be proudly received . .
. . because, among Movie Makers,
Victor is the most highly regarded
of trade ' names. Make someone's
Christmas happier .... give Victor
equipment.
Products
The VICTOR - SIMPLEX
FILM CLEANER
A gift that every projector owner needs
.... and will gratefully receive. Com-
plete with Cleaning 4oOO
Fluid
,.$8°°
VICTOR Pocket Titler
for Victor Model 3 and 5 and Filmo
70 and 70D Cameras. Most practical
and easy-to-use of all titlers. 4 Models.
Specify make and focal length of cam-
era lens with which to be used. Com- . » _-
plete with Title Background Cards tQ
Victor Animatograph Corpn.
DAVENPORT, IOWA
EASTERN BRANCH, 2U1 W. 55th, NEW YORK CITY
WEST COAST BRANCH, 650 So. Grand, LOS ANGELES, CAL
See Tour Victor Dealer Today!
New F2.9 Series Dallmeyer Lenses
Imported by VICTOR Exclusively
Dallmeyer, Ltd., of London, have been internationally
famous as makers of fine lenses for more than half a
century. Their new 2.9 series of 16 m/m lenses make
it possible for the first time for a quality lens of F 2.9
speed to be had at the following low prices:
One-Inch F 2.9, $27.50 Two-Inch F 2.9, $35.00
Three-Inch F 2.9, $40.00
528
DECEMBER 1932
Leslie Fairchild
Closeups — What amateurs are doing
• A "titlelude" is the graphic name
given by Leslie Fairchild of Bridgeport,
Conn., to a filming device of his crea-
tion that he uses to add interest to his
travel films. Essentially a prelude or
introduction, the "titlelude" is a sym-
bolic motion picture scene rather than
a printed title. For example: "The
maker of a travel picture sits at the
library table on which rests a globe of
the world. Slowly he turns the globe in
search of the locale where his picture
was taken. A closeup of the globe then
shows the author pointing to the exact
city or country, and the 'titlelude' fades
into the actual record of the trip."
Adaptations of this scheme for cine-
matic introductions may be as numer-
ous as the films they introduce. Al-
though not essentially new, the method
has been developed to a point of nice
effectiveness by Mr. Fairchild. Closeups
will welcome reports of other such con-
tinuity devices.
• Because he has been writing for
Movie Makers since the early days,
because he probably has had already
more experience with motion pictures
than any of us will have in our lifetime
and because he is a League member we
thought you'd like to meet, we asked
Epes Winthrop Sargent, ACL, author of
All of Christmas in this issue, to give
us the lowdown. So here it is. Although
born in Nassau, Bahamas, chiefly be-
cause his parents were living there at
the time, Epes W. Sargent really comes
from old New England stock. He was
brought to the States when he was six
and has lived here ever since, mostly in
New York City. His father sought to
make him a druggist, but Sargent got
into the newspaper game before he
poisoned anyone and has been with
amusement publications since 1891.
Starting with the Musical Courier,
changing to Leander Richardson's
Dramatic News, the Morning Tele-
graph, Film Index, Moving Picture
World and Zifs Weekly, he is now with
Variety. Between times he has been
press agent for the Vitagraph company
and has written for Edison, Triangle,
Fred Mace, Harry Meyers, Christie and
other companies. He has directed a few
comedies for Ramo, which William
Fox later developed into the company
still bearing his name. He has written
more than 2000 short stories, five novel-
ettes and more than 500 scenarios. He
left this later work when production
went west and they started to write
comedies with "gagmen" instead of
typewriters. He has brought out three
editions of his Technique of the Photo-
play, still regarded as one of the text-
book classics on this subject. Sargent
saw his first motion pictures in 1896
and has been looking at the darned
things ever since.
■ Down in Thomasville, Georgia, Rob-
ert Thomas, jr., ACL, and Mrs. Thomas
worked every night for a week perfect-
ing a continuity plan for a new picture,
packed up the car on Sunday with
camera, tripod, film and filters and
headed south for Florida. They were
bound " 'way down upon the S'wanee
River," to picture the old folksong in
the way suggested by Lynwood Chace
A symbolic scene
made to serve in
place of a title
in his article, Set It To Film, from a re-
cent Movie Makers. Our latest report
from the filming front told how they
"found an old negro, eighty five years of
age, who willingly acted a small part in
the picture and did it very well too. . . .
We find," Mr. Thomas concludes, "that
carrying out a plan is much more satis-
factory than just shooting for fun."
■ At the state bird farm in Provo, Utah,
there are a half dozen or more varieties
of high grade pheasants, each with the
customarily gorgeous coloring of the
species. In the surrounding countryside
there are delightful walks in the woods,
made more delightful a month or so past
by the chromatic splendor of autum-
nal foliage. But there were no pheasants
in the forest, nor foliage on the bird
farm. This, however, did not bother
Riley Hess, ACL, of Ogden, who had a
camera full of Kodacolor. He fixed up
a portable assortment of autumn
branches for "fake" backgrounds and
shot the pheasants against them in
closeups. Then he filmed a walk in the
woods, with long shots, medium and
near scenes to be interspersed among
the sequences of the birds, and there he
was — aristocratic pheasants strolling
about the woods on an autumn's day!
■ In Budapest, Hungary, parts of a 1500
foot, 9.5mm. amateur travel film have
been purchased by the steamship com-
pany used by the traveler and will be
distributed by them in publicity work.
The film was a vacation record of Medi-
terranean ports made by Emmeric Da-
vid, a member of the Budapest Amateur
Movie Club, and was reported to head-
quarters by Andreas Lowy, ACL.
■ The Spirit Of Carnival is the title
Leslie P. Thatcher, ACL, in Toronto,
Canada, has chosen to represent his
film of the midway at the Canadian Na-
tional Exhibition. In the picture he has
attempted, through the use of unusual
angles and a large number of closeups
of significant actions, to achieve expres-
sion and tempo. Although we have not
as yet seen the film at headquarters,
the script indicated an unusually inter-
esting experiment with a vivid subject.
■ What, and why do you film? The Ama-
teur Cinema League wants to know and
has fifty dollars to help you tell us. See
page 532 of this number.
TRADE MARK
REGISTERED
SIMPLEX POCKETTE IS LICENSED FOR
KODACOLOR BY THE EASTMAN KODAK
COMPANY UNDER KODACOLOR PATENTS
The unique flexibility of Simplex Pockette
Camera makes it possible to quickly change
from panchromatic or supersensitive film to
Kodacolor. Fascinating and beautiful re-
sults can be obtained of those subjects that
lend themselves to color. Use as much or
as little Kodacolor film as you desire — then
change. Use as much or as little panchro-
matic or supersensitive film as you desire —
then change.
The obvious advantage of this inter-
changeability enables you to always use as
much or as little of exactly the right kind
of film for a particular condition by simply
changing the Pockette Magazine whenever
and as often as you please. No threading is
required, no time is lost and no film is wasted.
The partially used magazines can be removed
or replaced without difficulty or delay — any-
where, anytime. You can't do this with any
other camera.
SIMPLEX POCKETTE IS THE ONLY CAMERA
THAT REQUIRES NO THREADING AND
IS THE ONLY ALL-PURPOSE CAMERA
>~-T"", *•
II FITS THE POCKET
v£t&r:+~. * * * * * '*
16 MM. MOVIE CAMERA - * * - - - -
GIVES UNSURPASSED RESULTS
MOIMERATE&.Y f»R!€EI» *■ * '
COMPACT AN & ATTRACTIVE'
THE ALL"f*URF0$& CAMERA
Open door, insert Magazine, *&£££¥£,& A fi KHL I£ H fit I El dtfT "
close doar-and heoin filnnnq. W^»«™™ ^w B^K 4mW WftBiK WB M^ X W^ ^^ M m^ K
INTERNATIONAL PROJECTOR CORPORATION
90-96 GOLD STREET
NEW YORK,N,Y
530
DECEMBER 1932
Classified a dver t i s i
ILg
| Cash required with order. The closing date for
the receipt of copy is the tenth of the month
preceding issue. Remittances to cover goods of-
fered for sale in this department should be made
to the advertiser and not to Movie Makers.
10 Cents a Word Minimum Charge, $2.
EQUIPMENT FOR SALE
■ BASS BARGAIN COUNTER: Save big-
money I Culminating over twenty years of su-
perior values. Pick yours. Photoflood reflector,
stand with bulb, S3. 85. Almost new Stewart-
Warner latest model four speed camera, f/3.5
lens, carrying case, $37.50. Bell & Howell
Model 57 projector, perfect condition, with car-
rying case, listing at 8190.00; price $67.50.
Almost new Victor Animatophone, complete re-
cent model, ready to use with amplifier, listing
at $450.00; price, $145.00. Peko Maestro 16mm.
sound projector, complete in turntable, 33 and
78 revolutions, with amplifier and speaker, listed
at $255.00; special at $95.00. Filmo 70A, with
Cooke //3.5 lens and carrying case, listing at
$140.00; price, $62.50. 30x40 solid frame bead-
ed screen listing at $12.50; price, $2.55. Nearly
new Filmo 70D, latest model, brown finish with
1" Cooke //3.5 lens, listing at $251.00; price,
$176.00. Hundreds of other bargains. Bass Bar-
gaingram No. 209 and supplement sent on re-
quest. BASS CAMERA CO., 179 W. Madison
St., Chicago, 111.
■ SIMPLEX FADING GLASS will produce
fade in or fade out in your own movies. With
instructions and carrying case, $2.00. ERNEST
M. REYNOLDS, 165 E. 191st St., Cleveland,
Ohio.
B SELECTED 16mm. library films, in excellent
condition at 20 to 60 per cent discount; also
bargains in equipment. J. B. HADAWAY,
Swampscott, Mass.
■ THE BOOK which tells how to get profes-
sional quality pictures by simple methods. Camera
Secrets Of Hollywood by Robert C. Bruce. $1.00
postpaid in U. S. Address CAMERA SE-
CRETS, 1040 N. Las Palmas, Hollywood, Calif.
■ EASTMAN Model K, //1.9 and 3" f/4.5,
also Kodascope B. Excellent condition, all for
$285. JOHN BENNETT, 5 East Ave., Ithaca,
N. Y.
■ B f/1.9 CINE-KODAK equipped for Koda-
color, sky and density filters, carrying case,
exposure meter, all good shape, $75. cash. C.
FISCHER, 3122 Bancroft, Annapolis, Md.
■ VICTOR Model 5, visual focusing, with
Meyer //2.9 lens, Meyer f/1.5 lens and Koda-
color filter, Wollensak 3" f/4.5 lens, carrying
case, and Victor Titler. For quick sale, $200.00
complete. SALVATORE BONOMO, 1619 Mo-
hawk St., Utica, N. Y.
| TEXAS headquarters for 16 and 35 milli-
meter motion picture cameras, projectors and
titles. We build a dependable 16 millimeter
printer from your Model A Kodascope. LEE
FILM CO., 716 East Elmira St., San Antonio,
Texas.
B 400 FOOT aluminum reel and cadmium
plated humidor can, 95c complete. Metal tripod,
$1.95. Film cement, 20c and 35c bottle. QRS
Projector, $3.95. 21" x 16" silver screen, $1.50.
16mm. popular star films, 35c up. Free Bar-
gain Lists. HOME MOVIE SERVCE, Box 32,
Easton, Pa.
■ SOUND ON FILM, 16mm. RCA-Victor
projector, complete and in first class condition.
One 400 foot Grantland Rice Sportlight sound
subject included. Special turntable connection.
Interchangeable aperture to observe sound track
on screen. $350. complete. BOX 147, MOVIE
MAKERS.
■ BARGAINS— all new Merchandise. Bell &
Howell, Model 70 A, f/3.5 Cooke lens and
case, $70.00; Bell & Howell, Model 75 A, 1"
//3.5 Cooke lens and case, $50.00; 1" Cooke
lens, special, //1.8 for Filmo 70, $27.50; 1"
Cooke lens, special, f/3.5 foe. for Filmo 70,
$17.50; 1" Cooke lens, special, //1.8 Kodacolor
equipped — gauge and case for Filmo 70, $45.00;
4" Cooke lens, special, f/4.5 filter, case and
finders, $32.50; 1" Cooke lens, special, //1.5
foe. for Filmo 75, $32.50; Correctoscope Model
A, with lens, $22.50; projector lens, 3*6", $4.00;
projector lens, 2" Great Lite, $6.00; projector
lens, 2" Extra Lite, $7.50; Dremophot, $6.00.
FREDERIC BARLOW, Trenton, N. J.
■ FILMO 70 D camera, 57 G projector, demon-
strators, like new, Kodacolor equipped, cost
$686. Half price. DeVry 16mm. camera and
projector, new, $155. value for $55., or trade
for Eastman or Pako printer. ART. FLORES,
Texon, Texas.
B TALKING movies in your own home enabled
by marvelous Home Talkie Unit. Attaches to
any 16mm. projector. Sound effects perfectly
synchronized through projector motor which
drives bo'th projqetor arid sound turntable.
Shipped in original factory sealed cartons to
any part of U. S. on 20% with order. Outside
U. S., cash with order, plus shipping charges.
Price $13.50. See cut on page 579. FARRELL &
BUCKMAN, 364 Canal St., New York.
■ SAVE MONEY and enjoy the pleasure of
doing your own processing. We supply develop-
ing reels, trays, drying reels, printers, film and
chemicals. Complete instructions with every
outfit. R. B. ANNIS ELECTRICAL APPARA-
TUS, 1505 A East Michigan St., Indianapolis,
Ind.
| MODEL 5 Victor cine camera in case, Meyer
lenses: Trioplan, Tele-Megor Telephoto, Kino
Plasmat Kodacolor. Cost $400. Sell, $200.
Bell & Howell projector, Model 57, cost $250;
sell $125. Dremophot exposure meter, $6.
Ramstein optochrome filter, $3.50. All scarcely
used. D. J. MALLETTE, Meuer & Auerbach,
99 Mamaroneck Ave., White Plains, N. Y. Phone
W. P. 5863.
| FIFTY dollars allowance for your model
C Kodascope or DeVry projector towards the
Kodascope model K, Stewart Warner projector,
or any new model Victor projector or Cine
Eight model 60 Kodak and projector. NA-
TIONAL CAMERA EXCHANGE, 5 South 5th
St., Minneapolis, Minn.
■ RARE depression prices. Standard makes of
16mm. movie cameras and projectors, slighlty
used, some merely shopworn. Each guaranteed.
Each with case. Cameras: Filmo 70-A, list
$140.00, our price $50.00; Filmo 70-B, $150.00,
our price $75.00; Filmo 70-C, $180.00, our
price $95.00; Filmo 70-D, $251.00, our price
$160.00; Filmo 75, $99.50, our price $55.00;
Eastman M, $85.00, our price $30.00. Projec-
tors: Filmo G, list $198.00, our price $50.00;
Filmo GG, $260.00, our price $100.00; Ampro,
$200.00, our price, $60.00; Eastman A, $180.00,
our price $40.00; DeVry C, $98.00, our price
$50.00. Screens: beaded, box and map types,
$4.00 to $15.00. Movie cabinet, $25.00. RWK
All-Movie cabinet, $85.00. Complete line of
accessories, including tripods, filters, lenses and
films. Send for our big bargain list. NATIONAL
ALL-MOVIE SALES CO., 333 N. Michigan
Ave., Chicago. Established 1928.
■ EIGHTEEN dollars allowance for your old
model Pathex on the new Cine-Eight camera
and projector. Other liberal allowances for your
old still camera, Kodatoy, or used movie equip-
ment toward the new Cine-Eight equipment. NA-
TIONAL CAMERA EXCHANGE, 5 South 5th
St., Minneapolis, Minn.
for gourself
A year's subscription to
MOVIE MAKERS
is only $3
(Canada $4.; other countries $3.50)
A year's subscription will bring you:
H Simple and practical advice on every
fundamental movie making problem.
fl The latest and best information about
equipment and accessories.
U Directions and diagrams for building
things you can make yourself.
fl The latest news of amateur activities
all over the world.
U Guidance and advice for beginning
amateurs and specific articles for ad-
vanced cinematographers.
H Seasonal movie making data.
U Art title backgrounds, scenarios, plot
suggestions, lists of free films and in-
formation about practical films.
Subscribe now so you will not miss a
copy of the year's issue.
The annual index demonstrates
the value of a complete file.
AMATEUR CINEMA LEAGUE, INC.
105 West 40th St. New York, N.Y.
■ ENSIGN Auto Kinecam camera with 1" //2.6
lens and case, $60.00; Victor Model 5, turret
front with 1" //2.9 Meyer lens in combination
case, $95.00; lea Kinamo S-10 with //2.7 Carl
Zeiss and case, $37.50; Keystone camera //3.5
lens, spring driven, $21.50; Kodascope Model
C, new type, with case, $33.00; Filmo projector
Model 57, latest type, 250 watt bulb, $98.00;
Filmo projector, 200 watt bulb, round base,
$45.00; 15mm. f/2.7 Carl Zeiss lens, fixed
mount, $17.50; 1", //1.8 Cooke lens, focusing
mount, $20.00; 3", //4.5 Wollensak telephoto,
$25.00; Signtac title board with assorted pin
back letters, used, $1.50; pilot light for Filmo
projector, $3.00; Marshaloptic glass screen,
11x14" for rear projection, $30.00. WIL-
LOUGHBYS, 110 W. 32nd St., New York City.
EQUIPMENT WANTED
■ WANTED, 16mm. library films, whole libra-
ries and single films, lenses, etc. J. B. HADA-
WAY, Swampscott, Mass.
■ 16MM. CAMERA and projector, Bell &
Howell or other good make. Give specifications
and cash price. E. SCHMIDT, 406 Fanny Rd.,
Boonton, N. J.
■ WANTED: Late model Bell & Howell or
Victor projector. Must be in good condition
and price right. Reply to BOX 148, MOVIE
MAKERS.
FILMS FOR RENTAL OR SALE
■ PIXY PICTURES (25 ft.) 16mm. short sub-
jects complete with leader, title and metal reel,
all new film, $.75 each, three for $2.00. Send
for list. Also many 100 ft. travel-scenics at
$4.50. ERNEST M. REYNOLDS, 165 E. 191st
St., Cleveland, Ohio.
FILMS WANTED
■ OLYMPIC Games (1932) good, reasonably
priced, 16mm. Send description and price to
BOX 149, MOVIE MAKERS.
FILMS FOR EXCHANGE
■ WILL EXCHANGE five four-hundred foot
reels 16mm. sound on disc no charge for some
different subjects. FRED BRYANT, Lexington,
Ky.
■ EXCHANGE EXCLUSIVELY— Our library
was the first to reduce the price of EXCHANGE
to $1.00 for 400 ft. films and maintain its
STRICTLY HIGH CLASS SERVICE. Exchange
prices: 400 foot reel, $1.00; 200 foot reel, 50c;
100 foot reel, 2.5c. RETURN POSTAGE RE-
QUIRED. We positively will not accept pictures
with broken perforations and scratched emulsion
and that AUTOMATICALLY PROVIDES A
GUARANTEE THAT YOU WILL GET
QUALITY FILMS FROM US and QUALITY
HAS NO SUBSTITUTE. CINE CLASSIC LI-
BRARY, 1041 Jefferson Ave., Brooklyn, N. Y.
TRADING OFFERS
■ SHOTGUNS, target pistols, rifles, and other
good firearms may be traded in at liberal al-
lowances towards any photographic equipment,
movie or still, including Eastman, Bell &
Howell, Victor, Simplex, Pathex, Leitz, Stewart
Warner and other leading makes. NATIONAL
CAMERA EXCHANGE, 5 South 5th St., Min-
neapolis, Minn.
PERSONAL OPPORTUNITIES
■ EXECUTIVE-Salesman; motion picture work
a specialty; 16mm., 35mm., thoroughly familiar
with general photographic industry. BOX 145,
MOVIE MAKERS.
MISCELLANEOUS
■ SPEED BOAT acquired by League member
in payment for debt; like new, 26 feet, mahog-
any, chromium trim, phosphorescent bow, pneu-
matic trailer, Hispano Suiza motor with super-
charger, 500 H.P., twin cockpits, bucket seats,
leather upholstery. Can be delivered anywhere.
Make offer. BOX 146, MOVIE MAKERS.
■ PRINTED titles easily made — get that neat,
professional looking screen effect coming only
from printed titles. Titles printed with Kelsey
Presses are especially adapted to easy title
photography with the new, small title makers
which attach to camera. Excellent for direct
positive titles or "straight" titles shot with
reversal film. Complete printing outfits for movie
titles; presses, type, inks, paper, supplies.
KELSEY COMPANY, R-50, Meriden, Conn.
■ 16MM. TINTING, 2'/2 cents ft. any lenpth.
Red, blue, green, flesh, brown, violet, yellow.
W. ZIEMER, 3017 N. Menard Ave., Chicago.
MOVIE MAKERS
531
APTURE
the spirit of
CHRISTMAS
WITH MEYER
LENSES
for COLOR
and BLACK-and-
WHITE
The fuller color correction of
the Kino-Plasmat creates
plastic photography critically
sharp at all lens stops. In
black-and-white, its enor-
mous speed yields superb re-
sults under all light condi-
tions. In Kodacolor — the
ideal lens for the perpetua-
tion of beauty in color.
Kino-Plasmat i/l.S, 1" . .
with Kodacolor Filters . .
.$60.00
. 75.00
TELEPHOTO LENSES
The Movie Maker who appreciates
the advantages of telephoto lenses
in Travel — Sport and closeup work
— unhesitatingly indorses the excel-
lent quality of Meyer Telephoto
Lenses. These make clean-cut,
sharply defined pictures depicting
each distant feature clearly and are
noteworthy for the compactness of
their precision micrometer focusing
mounts. Prices from $45 up.
Tele-Megor i/4 — 3", 4", 6", 9".
Trioplan t/2.9—2", 3", 4".
The Christmas tree on the lawn with its
bright tinsel . . . the youngsters at play,
indoors, with new toys presented by a
Santa appreciative of their goodness . . .
these are subjects which Hugo Meyer
Lenses will capture in painstaking fidelity
. . . and for the projection of Christmas
Movie shows, Meyer Projection Lenses
add to the pleasure of the occasion by
throwing clear, brilliant luminous images
on the screen.
KINON SUPERIOR
PROJECTION LENSES
EXTRA LARGE APERTURE
A remarkable degree of correction for
color and distortion, a high light
transmitting power and a minimum of
zonal errors in the computation of
formulae, assure a uniformly clean,
sharp and well illuminated image in
an orthoscopic field. Focal lengths,
1 to 6", $15 up.
WIDE ANGLE
LENSES
Ideal for indoor night photography or
conditions of poor light, these lenses
combine wide angle with extreme speed
and cover a 60% greater field than a 1"
lens. Furnished in focusing mount cal-
ibrated from 1 '/z foot to infinity. When
revolving turret cameras, it is not
necessary to remove lens.
Kino-Plasmat t/ 1.5— 15mm. $60.00
Trioplan i/2.8, 15mm 36.00
Ditto, but fixed focus 30.00
New Drem Meters
for Cine and Still
Photography
Dependable, simple, com-
pact, the new Drem Ex-
posure Meters preclude
the element of chance in
your picture making.
Drem Cinemeter for all
Cine Cameras. Dremo-
scope for all Still Cam-
eras. Leicascope for Leica
Cameras. In fine sole
leather case, $8. SO.
A TELEPHOTO LENS FOR THE SIMPLEX CAMERA
The versatility of the Simplex Camera is further enhanced by the new Meyer //4.5, 3 inch
Trioplan Telephoto Lens which combines typically Hugo Meyer precision with a compactness
particularly adapted to this Camera. Price $45.00
HUGO MEYER & CO. 245 W. 55th St., New York
532
The battery less
ELECTROPHOT
photo-electric EXPOSURE METER
~X
Self -Generative Photocell (No Batteries)
Movie and Still Readings on One Dial
Unvarying Results At All Times
"|%/|~OST important of the improvements combined in the
-l-'-l Eleetrophot photoelectric exposure meter are: the
Rhamstine Self-Generative Electronic cell, eliminating
batteries, assuring constant stability and accuracy of ex-
posure readings under any condition or climate ; the sim-
ple, direct reading dial combining both movie and still ex-
posure readings; the easier operation (remove cap, find
subject in view finder and read lens setting) ; the handy
film roll size; the low price. Eleetrophot assures perfect
exposures, indoors or out, even for the quickest shots.
You waste no time in "tube squinting," guesswork or con-
fusing technicalities. Pays for itself in film ^J» ^-^ ^-^
saved! Sec it at your dealer's or write direct. T -CI H
Complete with genuine leather carrying case ^-W ^-W
J. TIIOS. RHAMSTINE*
Manufacturer of Precision Electrical Apparatus for 14 Years
501 E. WOODRRIDGE ST.. DETROIT, MICH.
DECEMBER 1932
"Why I film" contest
THE end of this month will see the
close of Movie Makers' "Why I
film" contest. Letters have arrived
in good number and the judges can be
promised real entertainment in learn-
ing of all of the various reasons why
amateurs have taken to movies. Since
the contest is not closed until December
31, there is still time for you to send in
your letter, if you have not already done
so. As you will see by the rules here
listed, there are no annoying conditions
of qualification.
Send in your letter.
RULES
2
3.
4
Write the best letter to Movie Mak-
ers on "Why I make amateur
movies."
Anyone who has done amateur film-
ing may enter the contest. There is
no other limitation.
The best letter ive receive will win
a cash prize of $50.00. There are no
other prizes.
The letter must not be longer than
700 words. It may be written in any
language but, if published in Movie
Makers, it will be translated into
English.
The contest opened September 1,
1932, and closes December 31, 1932.
The prize will be paid after the
judges' decision early in January
and the winner will be announced in
Movie Makers for February, 1933.
Letters must be written on a type-
writer, on one side of the page only
and double spaced. They must be
signed with the actual name and ad-
dress of the writer.
All letters submitted, whether win-
ning the prize or not, become the
absolute property of Movie Makers
and may be published in Movie
Makers or not, as the editor may de-
cide, without compensation therefor
to the writer. The only compensation
is to the one prize winner.
The judges are: Hiram Percy Max-
im, President, Amateur Cinema
League, Inc.; Walter R. Hine, Vice
President, J. Walter Thompson Com-
pany; Dr. Lawrence C. Lockley, au-
thority on writing letters.
9. Letters should be addressed as fol-
lows: "Why I Film" Editor, Movie
Makers, 105 West Fortieth Street,
New York, New York, U.S.A.
8
MOVIE MAKERS
533
'Our Gang's Christmas'
Pathegrams
16mm. Silent Film
on 100 ft. Reels
OUR GANG
"Our Gang's Christmas" No. 7107
The Gang go down to see Santa *-f
Claus in the store windows and
how they long for some of the
toys they see Santa making.
They devise ways and means to
have Santa visit them which he
always does and they are made
happy on Xmas morning.
"Breaking into the Movies" 7089
"Some Pirates" 7090
"The BarberShop" 7091
"Making Their First Movies" 7092
AESOP'S FABLES
"Haunted Ship" 7094
This is a spooky fable that
brings the Oh!s from the au-
dience. The story of Davy
Jones's locker.
"Good Old School Days" 7093
"African Jungle Hunt" . 7095
"Deep Sea Divers" 7096
GRANTLAND RICE
SPORTLIGHTS
"Lion Athletics" 7099
One of the real thrills in ani- *-f
mal pictures. We now learn
that football was first intro-
duced in Asia by wild animals
— and is this lion wild. See
what he does to his trainer in
a wrestling match.
"Frolics of Frost" 7097
"River Drivers" 7098
"Modern Mermaids" .7100
FREDERIC L. GERKE
Sole Distributor
45 West 45th Street, New York, N. Y.
SELLS IN AMERICA FOR
EITHER 9.5mm or I6mm.
Or $109.00 for the Combination
BOLEX CO.
45 WEST 45th STREET NEW YORK, N. Y.
WRITE FOR EXCLUSIVE DISTRIBUTION PLAN
j
534
DECEMBER 1932
Make movies INDOORS this Christmas
With G. E. MAZDA PHOTOFLOOD LAMPS
When you buy Photoflood lamps ,
sure to look for the mark
Mazda, the G. E. monogram
and the word "Photoflood" on
the end of the glass bulb. That
is your guarantee of quality.
&
'HOOT those Christmas scenes you've always
longed to film, this year! Catch the children as they un-
wrap their presents. Get that expression on Mother's face
as she watches them. Capture scores of other happy
Christmas moments for keeps", through the use of
G. E. MAZDA Photoflood lamps.
These amazing new lamps, used in conjunction with super-
sensitive film, enable you to take movies indoors as easily as
outdoors . . and almost as inexpensively. They offer you
studio lighting from ordinary home lighting sockets, without
blowing fuses. And during their two-hour life, you can shoot
hundreds of feet of precious home-life scenes. Yet G. E.
MAZDA Photoflood lamps sell for only 35 cents each !
You'll want to try this important new development in home
movie lighting now. Don't wait until Christmas. Get some
G. E. MAZDA Photoflood lamps today at the store where
you buy film . . then shoot away for some real home movies.
General Electric Company, Nela Park, Cleveland, Ohio.
GENERAL WH ELECTRIC
MAZDA PHOTOFLOOD LAMPS
Here to stay
A greeting from the President of the ACL
THE AMATEUR CINEMA
LEAGUE, INC.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and now
spreading over many countries. The League's consult-
ing services advise amateurs on plan and execution of
their films, both as to photographic technique and con-
tinuity. It serves the amateur clubs of the world in
organization, conduct and program and maintains for
them a film exchange. It issues bulletins. It maintains
a plot service and title service. The League completely
owns and operates Movie Makers. The directors listed
below are a sufficient warrant of the high type of our
association. Your membership is invited.
DIRECTORS OF THE LEAGUE
President
HIRAM PERCY MAXIM Hartford, Conn.
Vice President
STEPHEN F. VOORHEES New York City
Treasurer
A. A. HEBERT Hartford, Conn.
C. R. DOOLEY New York City
MRS. L. S. GALVIN Lima, Ohio
LEE F. HANMER New York City
W. E. KIDDER Kalamazoo, Mich.
FLOYD L. VANDERPOEL Litchfield, Conn.
T. A. WILLARD Beverly Hills, Calif.
Managing Director
ROY W. WINTON New York City
Address ail inquiries to
AMATEUR CINEMA LEAGUE, INC.
1 05 W. 40TH STREET. NEW YORK CITY. U. S. A.
THE end of another year has come and, in compliance with tradition, the
President again foregathers on this page with the membership. Of all the
six years which have gone by since we organized our Amateur Cinema
League, the passing of none will be regretted less than this one. For three long
years the most cataclysmic economic storm that civilization has experienced has
raged. What appears to have been the apex of this storm came this year. That
amateur cinematography has successfully weathered such a storm is an indica-
tion of the solid foundation that must exist under it. Scores of other organiza-
tions have succumbed. To the writer, who has steadfastly believed in the latent
possibilities of amateur cinematography from the beginning, this stormworthi-
ness is immensely impressive and encouraging. It gives assurance that the ama-
teur made motion picture, with its independence from box office influence, has
that thing about it which enables it to stand the acid test. It cannot but be a
satisfying feeling for every user of an amateur motion picture camera that every
foot of film he exposes is a help toward bringing out these latent and well worth
while possibilities.
The writer is peculiarly conscious of this because of his intimate association
with amateur radio. Twelve years ago amateur radio was regarded as amateur
cinematography is now regarded. There were those who believed they saw in it
far reaching possibilities. But there was nothing that any more than hinted at
them. Today we see these latent possibilities all established fact, and civilization
profiting by them. Thanks to organization, international amateur radio is today
an institution. Under its sheltering arms we see private citizens in every civilized
country on the face of the globe, and several of the uncivilized, communicating
with each other, even to the antipodes. Do we not behold in this spectacle an
influence for world intimacy and peace of a very considerable importance?
Amateur cinematography conveys that which cannot be conveyed by words. It
is an adjunct that completes and makes perfect world wide human communica-
tion. Thus, it has seemed to me that amateur cinematography possesses the same
intangible, difficult to define appeal to intelligent minds that amateur radio pos-
sesses. And so, may we not look forward with confidence to its ultimately exert-
ing its own decidedly important, favorable influence in the advancement of
civilization? It seems to me we can.
W-V^^^^^v. Q _J
Snr»W vistlS Shall we have a "white Christmas" in December?
Impossible to predict, but it is possible to be pre-
pared, having in readiness the camera, film and filters. Sunlight
shining on snow will offer great contrast to the shadows and a 2X
or 4X filter will help to get both. If the most important part of the
scene is in shadow, read the exposure meter and set the lens stop
for that part. The sun, shining from the side, will create a beauti-
ful, rim lit effect on a snow laden network of branches. Could
there be a better frame for a winter picture? Such effects may
often be produced at night, with the aid of a flare, in which case,
of course, the filter would not be used. Supersensitive film will help.
MOVIE
MAKERS
537
The ten best
Ed
itor
ial
staff
of
this
magazine
off
ers
its
choice
THE staff of Movie Makers is again proud
to present its selection of the year's ten best
amateur films. In accordance with the
custom inaugurated in December 1930, each
year Movie Makers' staff surveys a list of all
the amateur films its members have seen during
the year and from this makes a selection of ten
which, in the unanimous opinion of the whole
staff, are the most outstanding. While this choice is made on an entirely informal
basis, without rules or a set technique of judging, it does represent the considered
determination of Movie Makers' staff. Because of this and because of the fact that
the films listed are chosen from nearly a thousand completed pictures, representative
of the best amateur work in the world, we believe the selection to have significant value.
Certainly, no contest or competition has ever represented so many amateur pictures.
The films chosen by Movie Makers' staff as ten best for 1932 are: The Last Entry,
a seven reel mystery drama of extraordinary technical excellence, produced by a
Minneapolis group of amateurs under the leadership of James F. Bell, jr., ACL;
Portrait of a Young Man, a cinematic interpretation of nature achieved through
closeups, filmed by Henwar Rodakiewicz, ACL; Lot, the third motion picture triumph
of Dr. J. S. Watson, jr., ACL, and Melville Webber; Two Minutes to Play, a suave
and amusing football photoplay that avoids all of the amateur pitfalls of this type of
picture, produced by the Greenbrier Amateur Movie Club; Studies in Blue and
Chartres Cathedral, a Kodacolor film of amazing beauty, and containing an epochal
technical achievement in the sequences of the stained glass windows of Chartres
Cathedral, made by John V. Hansen, ACL; Garden Closeups, as fascinating a nature
picture as one will see, containing unusual views of insect habits, filmed by W. T.
McCarthy, ACL; a complete film record of the construction of a sewage disposal
system, a detailed and scientifically presented industrial picture, produced by Sherman
A. MacGregory, ACL; Canadian Capers, a charming vacation film that contains one
of the best railroad film studies ever made, filmed by Hamilton H. Jones, ACL;
Technical Methods in Cancer Research, the most important amateur medical film of
the year, produced by Francis Carter Wood, jr., ACL, in collaboration with his father,
Dr. Francis Carter Wood; Thornwell Orphanage, one of the best amateur welfare
pictures ever made, filmed by Willis Osborn, ACL.
As is bound to be the case, it was not possible to include in this list many very
exceptional amateur pictures. Each year the temptation grows stronger to enlarge the
list because of the number of outstanding films that cannot be included. However, to
enlarge the list would be to reduce its significance, so the staff, after careful considera-
tion of photographic quality, continuity, subject matter interest, titling and editing,
limited the selection to these ten pictures. As has been the case each year, these ten
represent a wide range of amateur filming interests. While, this year, the subjects are
more specialized than formerly, this seems to be a natural development in the growth
of movie making. As an avocation matures, a larger number of people will specialize
in some particular phase. In the case of amateur movie making, this specialization
consists largely in devotion to filming a particular type of subject. With such speciali-
zation, signal achievement in the field selected is bound to come. Most of the pictures
listed above are the joint products of first rate movie making skill and a keen interest
in the subject filmed. All of them are very personal achievements.
In addition to the ten best films of the year, honorable mention is awarded to the
following pictures because of some outstanding and individual quality that each
possesses: The Grand Teton Country, filmed by H. W. Voss, ACL, because of its
magnificent handling of action subjects and long shots in Kodacolor; Drifting, a
photoplay by Jack Navin, ACL, because of the charming story treatment and the
thoroughness with which it was worked out by cameraman and actors; Little Geezer,
a photoplay with child actors produced by Theodore Huff, ACL, because it is a
delightful satire of professional movies and because of the handling of the child
players; Russell Sage Foundation, filmed by Theodore Huff, ACL, because of the
cinematic and varied treatment of an organization film; Water, by B. H. Blood, ACL,
because of the skillful development of a novel continuity idea; Girl with a Dress, by
Clyde Hammond, ACL, because it is a delicate and subtle photoplay of a type rarely
attempted by amateurs; I'd Be Delighted To!, by S. Winston Childs, ACL, because of
the photographic excellence of the interior closeups of which the film is entirely
composed. It tells an amusing story without a moment's awkwardness.
Amono- the ten best, The Last Entry, running seven reels 16mm., is one of the most
Studies from "Lot",
recent achievement
of "Usher" filmers
538
ambitious amateur photoplays ever undertaken and completed. The plot,
requiring many elaborate interior sets, is based on a mystery story that opens
with a house party. While a room is darkened for the projection of amateur
films, one of the guests is murdered and all present may be suspected equally.
The detective handling the case uncovers the fact that the murdered man, an
author, has lived on blackmail effected by threats of exposure through publi-
cation, which throws suspicion on several of the guests of the house party who
were discovered to be his victims. However, in the end, the murder is solved by
screening the same pictures that were on the projector when it was committed.
Although this plot offered great difficulties in the direction of large group scenes,
the creation of the necessary lighting effects and the interpretation of the actors'
roles, it is beautifully and suavely handled. In the film are several lighting
treatments that may be listed as among the most effective ever achieved by
amateurs. One chase sequence staged through long corridors, a large, dimly
lighted attic and on the roof of the mansion at night in the rain, can be likened
only to the effects secured in the best professional mystery photoplays. James F.
Bell, jr., ACL, was director with Charles H. Bell, ACL, and Benjamin Bull, jr.,
ACL, cameramen and Lyman Howe, ACL, in charge of lighting.
Portrait of a Young Man, by Henwar Rodakiewicz, ACL, is a triumph of fine
photography and sensitive imagination. Abstract in treatment, and speaking
through delicately rhythmed scenes of smoke, leaves, grasses, the sea, machin-
ery and the heavens, this film is an attempt to portray in graphic terms a young
man's reactions to the beauty, force and mystery of the natural world. In
producing the final three reel version, Mr. Rodakiewicz has filmed deliberately
toward the one end for more than three years and in many different locales.
Although using largely material to be found in nature, he has so transmuted it,
by the creative artistry of his selection and control, as to get from each selected
scene, not a mere reproduced likeness, but a trenchant and symbolic image.
Portrait of a Young Man is beautiful, exciting, workmanlike and distinguished.
Lot, two reels 35mm., produced by Dr. James S. Watson, jr., ACL, and
Melville Webber, may be said to be as much of an advance in motion picture
technique over Fall of the House of Usher, their earlier production, as that film
was an advance over standard professional cinematography. There are very few
cinematographers in the world who have devoted the whole of their efforts tc-
experimentation with the motion picture as an art medium and, in the opinion
of Movie Makers' staff, there is none who has achieved the signal results of
these two. Lot represents a complete innovation, not only in the treatment of
the theme as a whole, but in the cinematic interpretation of the sequences. In it,
the familiar tools of the advanced cinematographer, multiple exposure, trick
printing, complicated lighting, symbolism, models and models in combination
with life size sets are used to secure an entirely new and very beautiful cinematic
representation of the Biblical story. In Lot these two amateurs have mastered
the world of illusion of the motion picture but, in doing so, they have produced
more than a mere novelty ; they have founded a new cinematic art.
Two Minutes to Play, running two reels, 16mm., and a production of the
Greenbrier Amateur Movie Club under the direction of Hal Morey, ACL, stands
out among the year's films because of its unusually deft cutting and shrewd
camera treatment. Although plotted on the standard football yarn, the picture
tells its story swiftly, smoothly and with a rising tempo of excitement that is a
direct tribute to the production and to the editing. Consistently good photog-
raphy, effective and varied camera angles and a well planned script were con-
tributing factors in the success of this genuinely entertaining film story.
Studies in Blue and Chartres Cathedral, a cerulean cinema achievement,,
one 400 foot reel in full Kodacolor by John V. Hansen, ACL, shows what an
artist's and a colorist's eye can select and record. While this film is in some
sense a travel record, Mr. Hansen definitely made it a point to choose those
scenes and vistas that revealed the open sky, whether seen in patches through
the interlaced branches of trees or as a dim, distance haze, shimmering up from
the tops of far off mountains. Here are deep blue skies overhead, merging into
white mist at the horizon, apple green, azure, so many hues that it is a revelation
to see that a mechanical process can so beautifully record nature. Mr. Hansen
presents to the audience's eyes such a varying kaleidoscope of blending colors
in his continuity that it is difficult to do the entire effect justice by mere descrip-
tion. But among his outstanding technical achievements are the recording of
sunlit glades in a dense forest, especially effective [Continued on page 560J
539
Lighting the festival
RUSSELL C. HOLSLAG, ACL
Illumination used
to give originality
in Christmas films
WHEN the holiday season comes
round and relatives gather on
every hand, the amateur movie
maker is usually called upon to "shoot his
stuff" at a moment's notice, indoors or out.
For it is during this season, with its cheer
and open house, that friends and relations
foregather who may not appear again dur-
ing the year. Here is a chance to preserve the holiday mood for all the year.
Having read Movie Makers assiduously, the amateur will, of course, be
thoroughly familiar with all types of simple lighting setups for closeups,
medium and long shots and he will know that the greater the picture area
included, the more actual light will be needed. He will know, too, that it is
always wise and in good cinematic form to conserve as much light as pos-
sible by the use of reflectors, which may take the form of any flat, white surface
of generous proportions. And he will know that, in most cases, it is advisable
to use supersensitive panchromatic film for interior shots and to remember that
the lighter the subject and its surroundings, the smaller the diaphragm stop
to be used.
These are the fundamentals; they are not hard to acquire and to use. Once
having mastered these, the amateur in holiday mood who sets out to take an
indoor picture may conceive a desire for something further from the ordinary.
He doesn't want to go to an immense amount of trouble nor to herd the guests
into a production unit; he is not even anxious to blow the fuses. But there are
simpler ways to achieve original effects with lights and, perhaps, just a few
hints, coupled with a little constructive imagination, will aid him to produce
that individual touch.
In working out novel lightings appropriate to the holiday season, one might
start by thinking over the stock ideas that are used in art and literature to give
atmosphere to representations of the Christmas season. Of these symbols of
Christmas, perhaps the most usual and easiest to produce is the familiar firelight
scene. There is nothing more cheerful in the Christmas movie than a good,
crackling blaze in a fireplace. Those who dwell in hearthless apartments may
simulate a fireplace cinematically. But first, let us take the case of an actual
fireplace containing a real, "honest to goodness" fire. Even with supersensitive
film, the light from the fire, itself, would hardly be sufficient to produce a well
exposed image of those gathered around. The thing to do, if one is so fortunate
as to have a roaring log fire at his disposal, is to take a picture of the fire itself
for introducing the sequence and, perhaps, for splicing in at appropriate inter-
vals. The blaze will photograph beautifully on supersensitive film at //3.5 or
on normal panchromatic with a faster lens (//1.9 or thereabouts). A wood blaze
is rich in yellow and red and is a very happy subject for panchromatic film.
Even when the fire dies down and the glowing embers assume fantastic shapes,
it may be photographed, preferably with superspeed film and a half speed cam-
era. A judicious poke or two among the embers when the glow dies down too
far will help matters.
A group or individual seated before the fire or children lying on the hearth
rug should be illuminated by artificial means. It will be necessary to make some
preparation. Choose a time when the fire itself is not burning and the fireplace
is clear. Inside the fireplace, arrange one or two reflectors containing the movie
lighting bulbs, placed in such a way that the source of their light will be con-
cealed from the camera lens, which shoots the scene from the side. A little
judicious arrangement of the connecting lead will conceal that too. The subject
is now seated in front of the fireplace in a natural position and the scene is shot.
Illumination of this kind will be very "contrasty," with deep shadows on the side
of the subject away from the light, and will approximate the effect of firelight
very convincingly. Some amateurs who are sticklers for realism have even con-
trived to produce a flickering effect in the light by inducing a youngster to
crawl inside the fireplace and wiggle a piece of cardboard in front of the light
source. With or without the flicker, such a film can be tinted a deep amber or
red after it is finished and will produce a most impressive effect on the screen.
Several laboratories are equipped to do this. If you haven't a fireplace, you
might contrive to cut out an opening in a large piece of cardboard to simulate one.
Another effect that is associated with the season, and which is particularly
adapted to a single portrait effect, is the candlelight [Continued on page 564]
Demonstration of
lighting by movie
makers of t o y I a n d
Dayton Snyder
The clinic
RUSSELL C. HOLSLAC, ACL
Stunt of the Month ■ As human actors are not always
completely reliable, I cast about
for some kind of substitute that would give me the animation
I wished for a Christmas film. After a little experiment, I
found the substitute in some flat, paper figures which are
easy to make and which I found to provide some very amus-
ing antics on the screen. Furthermore, they proved to be
humble beasts, fully amenable to the dictates of their master,
asking little and giving much in return. The creation of these
comical animals is very simple. An egg shaped piece of brown
or gray cardboard, a circular piece for the head (a very ex-
pressive eye can be drawn in with a compass) , a long, narrow
point for the beak, which is pasted on, and a semicircular
piece for the feet create the animal. In my film, the birds did
not appear all at once. I answered the age old question by
showing the egg first; in fact, there were three of them,
appearing one after the other. Motionless at first, they sud-
denly begin to undulate; this and the following effects were
produced by stop motion. Suddenly the heads with long
beaks appear and revolve upon the bodies with rhythmic
astonishment. To complete the picture, the feet suddenly
appear and abbreviated tails may be added. A little experi-
menting with such figures in movable parts will reveal a
great number of amusing variations. To photograph them
successfully, the figures should be on a flat, horizontal plane,
with the camera suspended above. Illumination should be
by artificial light and, with a little practice, it will not be found
difficult to expose the film one frame at a time, moving the
parts of the figures between each frame. — Alexander Stiller.
Winter lights ■ ^ne °f *he most pleasant winter ef-
fects, which warms the heart though
the weather be biting cold, is the sight of the cheerful,
twinkling lights of a house on a winter night. They shine
over the snow and speak eloquently of the warmth and bustle
within. Too difficult an effect for movies? Not at all, provid-
ing a little extra preparation is made. Of course, the ordi-
nary forty or fifty watt bulbs in the house fixtures will not
make much of an impression when photographed from the
outside. But, if floor or table lamps are placed near the win-
dow and Photoflood bulbs used in these, the effect will be all
that is desired, photographically. It is better to use lighting
fixtures with translucent shades for this purpose, as the
Technical comment
and timely topics
for the amateur
unshielded bulbs may
cause flare. Another way
to achieve a similar ef-
fect is to draw down
the white shades in the
windows and to direct
the light full on these
from the inside, using
movie lighting units with their efficient reflectors for the pur-
pose. In order to get the outline of the house, itself, in the
picture and thus achieve a moonlight effect, the scene may
be taken advantageously just at twilight, when the faint day-
light left will register an exposure. If the picture is to be
taken after dark, a single flare may be used behind the cam-
era for the same auxiliary purpose. Use a wide open lens.
Random shots ■ To capture cloud effects, it may not
always be necessary to use filters. Re-
member that the primary function of the average filter is
to hold back the blue; in a gray sky with dark clouds, there
may be very little actual blue. In such a case a small dia-
phragm stop will often produce a very interesting cloud
effect and one that is peculiarly appropriate to winter.
■ Be careful of over exposure on snow. The effect of a broad,
white expanse of snow in a scene is to produce a highly
efficient reflector for the sunlight, so that stops of //ll and
//16 are often indicated under these conditions with normal
speed panchromatic film. ■ If there is skating in the neigh-
borhood, why not try the stunt of a traveling camera shot?
One of your friends who is a sure footed skater can hold the
camera steady in his hands and shoot the picture while
being pushed along the ice. This would be an original way
of securing a "trucking" shot of another skater, just ahead.
If the light is bright, a camera speed of 32 or 48 will help
to iron out unevenness in the motion. • Shadows on the snow
offer excellent cinematic possibilities. There are the bare
branches of ordinary trees and the fuzzy ones of the conifers,
swinging in the wind. The use of a small stop is advised.
Small Camera Caution ■ Since the introduction of the
pocket type of home movie
camera, it has been noted that not a few home movie makers
find that they fit the hand a little [Continued on page 570]
Publishers
Effective winter
scene may be made
of lighted house
540
541
THIS promises to be a cinematographic Christmas. Most Christmases have
been, since the simplification of cinematography for the home, but this
year a new order obtains and hundreds of new indoor workers will be
added to the list of those who will focus on the Christmas tree or make other
records of the season.
With a few of the new globes, which can be screwed into the regular sockets
or run anywhere by means of extension cords, with no danger of blowouts from
careless use, and with supersensitive film to aid the all purpose objective, indoor
photography becomes a delight instead of an athletic exercise. Added to this
facility of lighting, there is also the possibility for less expensive filming with
cameras and film not available a year ago.
Christmas, of all the holidays, is peculiarly a home festival. It centers
around the hearth and the dining room. It brings all of the family together with-
out extra effort and, best of all, it provides an almost limitless array of possible
subjects. The camera owner with a couple of reels of supersensitive film can
make a vital record of the festival that would baffle even the facile pen of a
Dickens. For that matter, if costumes are available, there is no good reason why
the artist should not reproduce the delightful Christmas scenes from Pickwick
Papers or repeat the story of Scrooge and Tiny Tim. But perhaps for this first
Christmas, the home record should prove the most satisfactory activity.
There is poetry in the fabrication of the spicy mince pie, a mouth watering
urge to the compilation of the aromatic pumpkin. And it will not hurt any, if
in the latter you can dig from your files a shot of a cornfield with the pumpkins
distributed between the shocks. Either process can be dramatized in action
and still life, particularly if there is a holiday in the country with the old fash-
ioned farm kitchen for background. Most farmhouses are provided with elec-
tricity these days, or at least such as are occupied by camera owners.
The turkey, too, will deserve a chapter. Slip over to some poultry farm, if
time permits, and stalk the gobbler on his native heath. Make a shot of the
poultry in some store window or on a market stall. Show a flash of the pluck-
ing and stuffing, and with a reflector throw the light into the oven where
the piece de resistance is comfortably browning in the domestic inferno. Follow
the bird to the table and, if you will, beyond that to Rover or Fido getting his
Christmas party from the bones. If you hold, with many, that poultry bones
are not for canine consumption, substitute some meat, and shoot while he is
eating that.
Of course, no picture will be perfect without the tree. And the tree offers
as many angles as you can find in the most modern German production.
In the country you can get the snow clad tree. If there is no snow, shoot a little
high and empty a bucket of whitewash over the needles. In the city a trip to the
railroad terminals will give vistas of long lines of gondola cars loaded with the
firs and this can be followed by a street scene with the trees on display for sale.
In the home there is the setting up, the dressing and, finally, the distribution
of the presents. Work the children in for this. They will come in handy for
medium and closeup shots. With supersensitive film and two photofloods cor-
rectly placed, you can get a good shot of the tree lighted up. Turn on the tree
lights, for they and the ornaments will register beautifully.
If you follow the pretty custom of decorating some conifer in the yard, add
that to the collection. Make both a day and a night shot. Photofloods on an
extension cord will give sufficient illumination for the night scene. In New York
City, the illuminated tree in Times Square would make an excellent night shot.
Then, too, there are the Christmas waits. This scene should be carefully
lighted for a night effect. Bundle the youngsters up warmly, for it will be cold
standing around. It might be better to arrange the lights first and then call the
children when you have made your set up and are all ready.
But all of these are merely the background for the real spirit of the season,
the family jollity. Make enough of the suggested footages, if you wish to form
a series of short subject reels of the sea-
son. For the main record, flashes can be
used for atmosphere. Of course, there will
be a party, but the large party simply
goes for the record. It's just a party. What
will make it a real picture will be the in-
timate touches, the grief of the newly
made doll [Continued on page 562]
Modern
equipment
recording
of whole festival
insures
Douglas of R. I. Nesmith and Associates
Children and tree
express heart of
midwinter holiday
EPES W. SARGENT, ACL
All of Christmas
L. L. Richards, ACL
NOT many years ago, when it snowed, people would
bundle themselves up inside their houses, close every
door and window and huddle in front of fireplace or
stove. At about the same time, when the production of some
struggling motion picture company called for an outdoor
snow scene, an indoor studio set was used and salt was sub-
stituted for snow. The development of a nation wide interest
in winter sports changed all of this. New Englanders appre-
ciate the beauty of their winters, winter tourists flock to
Montreal, Californians seek the snow on their mountain tops
and an amateur movie maker has scarcely been known to
"fake" snow in an indoor set.
It is just as desirable to plan a winter scenic in advance
as it is any other type of picture. Failing a complete plan,
the movie maker should not forget to take sequences. He
should remember that anything worth filming is probably
worth at least two shots, one of which usually should be a
closeup. If, for instance, a movie maker has selected a charm-
ing view of fir trees covered with snow, he would do well to
follow it with a closeup of a branch of one of the trees, framed
against the sky. Such a closeup adds emphasis, clinches the
effect and provides variety.
Since the winter snow background is always quiet and mo-
tionless in feeling, a winter scenic calls for human action to an
even greater extent than the summer or spring scenic. Winter
sports, children playing in the snow, hiking and street action,
all can provide activity for the scenes and, perhaps, motifs
or themes for the whole film. The graceful beauty of skiing
suggests a film based entirely on interpreting this sport. Sev-
eral European films of this subject have achieved rare cine-
matographic beauty, but in this country, for some reason, the
field is comparatively neglected, although one or two excel-
lent record and instructional skiing pictures have been made
by amateurs. A ski scenic would be a unique achievement.
A film made almost entirely in closeups is a first rate win-
ter possibility. With the
closeup, the cameraman
is able to exclude the
portions of the picture
that are not essential to
his purpose. He can se-
lect a bit of beauty out
of an otherwise dull set-
Much may be said
in little footage
through their use
Pine tree branches
snow laden offer
fine winter shot
ting. For instance, a cedar tree, partly covered with snow and
against an uninteresting background, might well be dis-
carded. However, a closeup of one branch of the tree, as it is
swayed by someone outside the picture and as the snow
tumbles off in fine powder past the lens, might make as effec-
tive a winter shot as one could find. Discovering beauty by
isolating it from an uninspiring general scene is rare sport
and productive of the most amazing results. With a closeup
one may capture the fugitive delicacy of patterns in the snow,
caused by wind or branches of plants. Even the half frozen
mud puddle may yield a charming study in black and white.
Clean snow furnishes a soft white background for moving
shadow effects. Shadows of trees or plants moving in the wind
or of human beings may be filmed readily.
The closeup may also be used to introduce a medium or
longer shot. For example, one might make a closeup of ski
tracks in the clean snow and then slowly tilt the camera
upward to include a view of the skier just as he starts down
the hill away from the camera. A closeup of snow drifted
into the corner of a building might include a hand reaching
into the scene and grasping a fistful of snow and might be
followed by a closeup of the hands making a snow ball and
then a medium shot of the youngster as he hurls it.
These closeups suggest an impressionistic interpretation
of winter as a continuity theme. Such a film would include
dramatically significant bits of action that were typical of
the season, and the majority of the scenes would be very near
closeups. A medium shot of a hillside covered with snow
might introduce the picture. It would be followed by a close-
up of a sled, then by a medium shot of a child coasting down
hill, the sequence ending with a closeup of the youngster's
happy face. This would immediately be followed by a closeup
of an adult face that is anything but happy. The next scene
reveals the cause — his car is stuck in a snow drift.
At first glance, it might seem that this treatment really
amounts to the assembly of a group of chance shots. Quite
the contrary, it would be effective only if very carefully
planned and edited. Although the scenes of the happy child
on the sled and the dismal adult and the stalled car seem to
have little connection, they actually present two feelings
about winter and are thus tied together. Carrying the idea a
bit further, next plan a sequence of winter sports and follow
a closeup of some skater, obvi- [Continued on page 563]
542
A. L. LORAN
Winter closeups
Filtering Christmas
HORACE R. SISSONS
543
AS the Christmas season approaches, most movie
makers plan a film record of the family festivities.
If the weather man favors those of us who live in
the northern section of our country with a "white Christmas,"
it will be well for us to take special care in preparing for the
unusual lighting conditions which will prevail. Snow covered
landscapes lend themselves admirably to beautiful movie
compositions. Because of the light available from sunlit win-
ter skies which are reflected by the snow, great care must
be taken to avoid extreme contrast and halation.
The first problem to be solved is that of the type of film
best suited to the prevailing conditions. If bright skies could
be assured in advance, the use of the normal speed panchro-
matic film would give us uniform results. It is, however, well
to plan for average winter light, which is referred to as "dull"
on the scale of your exposure chart or meter.
With this type of light, best results may be obtained by
threading the camera with one of the rolls of supei sensitive
panchromatic film which Santa Claus placed in your stocking
on Christmas morning. This special film has the same anti
halation qualities as the regular speed panchromatic and,
in addition, has the extra emulsion speed and extreme lati-
tude needed for winter filming.
It is well known that scenes made of extremes in light
and shadow are the most difficult to photograph with bal-
anced results. Winter sunlight, at its best, does not have
the brilliance of summer sunlight and must be used more
generously in making photographic registration. This is ac-
complished by increasing the lens diaphragm opening. It will
also be necessary to make some adjustment or compensation
for the additional light reflected by the snow covered por-
tions of the scenes. The best results under these conditions
will be obtained by the use of filters.
The filter most useful for all around work is the yellow
one made of glass or gelatine, and your dealer can supply
you with this type in suitable mount for your lens equipment.
For snow scenes, the 4X is recommended. This filter requires
practically no compensation adjustment when employed with
supersensitive panchromatic film and is, therefore, the most
simple to handle. The latitude of this film, in conjunction
with a 4X filter, allows the registration of light from the
darker parts of the scene, and danger of over exposure from
the snow covered field in bright sunlight is minimized.
Midwinter scenery
better expressed
by these devices
In filming landscapes
in which a snow covered
area meets the bright
blue of a sunlit sky, we
have another problem to
solve. The blue sky will
be registered with prac-
tically the same inten-
sity as the snow, unless the proper filter is used. The yellow
4X filter will improve the results but, for a more apparent
separation, a red filter (generally known as an "A" filter)
is suggested. Two manufacturers make red filters of this type
which fit their standard lenses and your dealer can supply
you with the filters in mounts necessary for other lenses.
The density of the red filter is so great that the use of super-
sensitive panchromatic film is advisable. Compensation for
this density is made by increasing the size of the lens open-
ing five times, or a little more than two stops, on the dia-
phragm scale.
Beautiful moonlight effects can be made with the red filter.
To get this type of scene, do not compensate so much for the
filter density. If a factor of 2X or 3X is used with the red filter
on a scene with a foreground of figures, trees or shrubs out-
lined against a background of snow covered fields or hills,
one of the most unusual pictures obtainable will result. The
foreground will be silhouetted in almost dead black and will
make the scene a prized and artistic addition to your film
library.
Those who spend Christmas holidays in the country should
not miss the opportunity of shooting a few scenes in which a
small stream or pond is the center of screen composition.
Many streams are active and flowing in the winter time, and
the contrast between the dark water and snow covered banks
is often beautiful. Sometimes a carefully selected camera
position will enable the lens to pick up reflections of light
from the ripples in the water. This condition requires the
same handling as the moonlight effect described above, ex-
cept that a yellow filter is used in place of the red filter and
the lens diaphragm is ordinarily closed to a smaller stop
instead of opened to a larger one. Persons or bare tree
branches silhouetted against the sparkling water often pro-
duce very striking effects in sheer blacks and whites.
Since the winter sun is low in [Continued on page 562]
R. I. Nesmith and Associates
Beautiful contrast
found in pictures
of snow and wa ter
544
Using still cameras
C. W. GIBBS, ACL
THE principles of photography are exemplified in any
operation which consists of passing rays of light through
a lens and impressing an image on a sensitized surface.
This happens sixteen separate times a second in the cine
camera and. although images are recorded at a much slower
rate in the roll film camera, the principles involved are much
the same. Perhaps it is because of the great similarity of
fundamentals that the movie enthusiasts are also interested
in making still pictures. The two processes, far from inter-
fering, supplement each other. This may partly explain the
popularity of the new, small, roll film cameras which take a
plurality of pictures at a single loading for later enlarge-
ment. These supply a still photographic unit which is easily
carried wherever the movie camera may be taken. Moreover,
it often happens that the photographer is struck by a scene
which, in its very motionless essence, is a more fitting sub-
ject for a still picture than a movie. In such cases the small
still camera, taking pictures that may be enlarged later, is
most convenient.
In working with a still camera, there is a surprising simi-
larity in the speed of the sensitive material used between the
ordinary panchromatic cine film and the well known
"chrome" type of roll film now everywhere available. In cine
work, when the film travels at normal speed, the duration of
exposure for each picture is approximately one thirtieth of
a second. For still work, the basic all around shutter speed
generally accepted is one twenty fifth of a second, so there
is very little difference between the two exposures. In general
practice, therefore, the shutter setting of one twenty fifth of
a second may be kept as the standard exposure and the
diaphragm adjustment for various lighting conditions, just
as in a cine camera. The many, new and well known roll film
cameras now available bear the usual // numbers on the lens
barrel for diaphragm control, so that again the similarity to
the cine camera obtains. Many of the small still cameras have
lenses as fast as the //3.5 with which the cine worker is so
familiar but, if the still camera lens is a slower one, com-
pensation may be effected by using a longer exposure than
a twenty fifth. However, if a longer exposure is required, use
a cine tripod or there will be a blurred picture because of the
probable movement of the camera.
If an amateur has chosen cinematography as a serious
hobby, he naturally wishes to know as much about the theory
of photography as possible. By using a still camera and doing
his own finishing — which is very simple — a better under-
standing of the subject will be obtained. He may see the effect
of exposure, development and rendition of tone. He may learn
what is meant by contrast, quality and many other terms that
are common usage in photographic discussions. Of course,
there is a very great difference between making simple con-
tact prints and the cine film reversal process, but the lessons
learned through doing still finishing will find constant appli-
cation in regular cine work. They will enable the movie maker
better to understand the whole photographic process.
Amateur photographers often require enlargements from
their cine films for use as title backgrounds, for gifts to
friends or for mounting in albums. Making such enlarge-
ments is not a simple procedure. Even although the cine en-
larging attachments are very efficient, the degree of enlarge-
ment from the small frames is sometimes limited. If the scenes
which are to be enlarged are taken with the still camera,
the process resolves itself into a simple, inexpensive proce-
dure. The photo finisher can supply enlargements of the
desired size and of fully satisfactory quality. The amateur
movie maker often meets scenes that appear of doubtful
Reasons why these Pictorial Jalue- Pefaps
/ he is not sure ot the
., angle of lighting condi-
are proper adjuncts tions under which the
scene can best be made.
for cine amateurs With the stil) camera a
number of pictures can
quickly and cheaply be
taken and, from these still prints, the proper angle and light
conditions determined before the scene is shot with the cine
camera. Then, too, test exposures can be made under the more
unusual lighting conditions and the results analyzed in a
shorter time than would be required to have the cine film
processed. A few test exposures on the still camera will often
clarify matters considerably.
When traveling, one is frequently bewildered by the num-
ber of opportunities which are offered for filming. Here,
again, the still camera can find a use. Instead of shooting
very short snatches of everything in sight, in order to conserve
movie film, take the scenes of lesser movie value with a still
camera for purposes of record.
There are a number of types of still cameras which can be
used handily in conjunction with a movie camera. Veterans
in this class are those which take a large number of still pic-
tures on 35mm. film. These cameras are compact and a con-
siderable number of exposures may be made on one roll of
film. Though the images are small, they stand enlargement
well because of the special lens equipment which is used in
them. Here, it is possible to take advantage of the great
variety of normal, fine grained and supersensitive emulsions
which are available for professional cine use. A camera of
this type, rightly used, will yield negatives of great detail
which can be enlarged almost to any size desired. A well
known example of this type of camera has recently incor-
porated a number of highly interesting improvements and
additions, so that normal or telephoto shots may be taken at
will, just as in the movie camera.
Next we pass to a class of still cameras which take pic-
tures on small, "vest pocket" size roll films. The advent of
the "chrome" type of emulsion in this size has given the
users of these cameras a film that is as fast as cine film and
which gives excellent results in monotone color rendition and
definition. The rapid increase of this particular type of cam-
era eloquently attests to the fact that it is a fully serviceable
means for making good still photographs. Its handy com-
pactness makes it ideal for use in conjunction with a cine
camera. Here, again, the lens definition, coupled with all the
other refinements found in camera and film, will permit of
excellent enlargements of almost any size.
There are so many examples of this generic type of camera
that it would be impossible to describe them all. It is enough
to say that those of dependable make can be relied upon
fully to perform to specifications. Moreover, the accurate
lenses with which this type of camera is usually fitted com-
pare in quality with the best movie lenses. The opportunity
that they offer for taking twelve, sixteen or more pictures to
the roll is very attractive to the traveling movie maker. Spe-
cial types of these cameras do on a smaller scale all that
larger still cameras can accomplish. They may be had with
ultra fast lenses, focal plane shutters, plate and cut film
holders, twin lens attachments which may be focused visually,
showing the image right side up just as in the larger reflex
cameras. In fact, one famous make of precision type small
still camera may be equipped to take its own or cine lenses
interchangeably as is desired. [Continued on page 565]
Ewing Galloway
Nature's backlighting When the °round is covered with
snow, many fantastic movie effects
may be created by pointing the camera in the direction of the light.
Effects of contrast and depth may be secured by side lighting.
Snow makes an efficient reflector and readily permits unusual
lighting. Snow tracks, lighted in the conventional manner, often
seem commonplace, but when the light comes from the rear or
from a low sun, it brings them into prominence and emphasizes any
irregularities in the blanket of white. Filters will cut down ex-
posure and give contrast between sky and snow which are so often
the same tone in winter. Be sure to expose for the general effect.
546
Paul W. Kearney
Trigger fish and
grunts are among
the marine actors
PAUL W. KEARNEY
Presenting a new
field of cinematic
effort and success
Fishing with film
yOU have read a lot about hunting
with a cine camera — have you ever
tried fishing with one? It is real sport
— a sport that easily ranks with actual
fishing, for thrills, and gives just as much
vest bursting satisfaction in reward. What's
more, the field is wide open to the amateur
cine enthusiast. On the one hand, there is
the public aquarium in the average large city where the serious worker can
usually obtain permission to make pictures. And, on the other, there is a far
greater field among the collections of fish fanciers, professional and amateur,
who are so rapidly spreading the current vogue for home breeding of tropical
specimens.
It is an interesting field from many angles. If you're a pictorialist at heart,
then stand before a tank of fish and wallow in their poetry of motion that makes
dancers appear ungraceful by comparison. If you want human interest stuff,
here is a library of material that grows in abundance as you become better
acquainted with the subject. And if you care to take the scientific approach,
here's a life work for you. No matter which phase appeals to you, the fruits of
your labors will be many hours of entertaining amusement for the folks gathered
around the projector, be they young or old.
Tropical fish, of course, offer an unending fascination in their strange habits
of living and love making. The harlequin catfish with his patent vacuum
cleaner; the casarab, the fish that sits down; the amazing lung fish; the
splashing samlet who lays its eggs out of water; the climbing perch; the
fighting fish, the nest builders, the live bearers — there are a hundred of them
with so much appeal that they are building a new business in this country.
In the realm of the public aquarium another group awaits you. There are the
ingenious shark suckers; the droll eel pouts; the trigger fish with their trick
spines; the kittenish grunts; the fierce but graceful morays; those master quick
change artists, the groupers, and their only rivals, the prosaic flounders, whose
patterns change so rapidly that you begin to doubt your own eyes. What a field
here for color work!
But let's not go that far at the start. Let's stick to the elementals that anybody
can handle, for there is a wide enough range there. With superspeed panchro-
matic film and two Photoflood bulbs in reflectors, you can make splendid fish
movies with an //3.5 lens if you follow a few fundamental tips.
Bear in mind, first, that light which passes through air and through water
has two different values. Consequently, in illuminating the inside of an
aquarium, instead of working on the basis of two Photofloods at six feet, shorten
the distance to four feet for an aperture of //3.5. The water will absorb much
of the light, so you must compensate for it. And when we say "four feet," that
means four feet from the fish, not four feet from the glass. This brings up the
supplementary point that distances in the water are quite deceptive and will fool
you badly unless you are careful. A fish eighteen inches from the glass front of
the tank appears to be only about six inches away; hence, when you are photo-
graphing large tanks, it pays to get the exact measurements of the case first.
Then, if possible, examine it from above and select markers on the bottom to
guide you when you are looking in from the front. The best method of focusing
is a visual one in a critical focuser.
The second major point to remember is that both water and glass do strange
things with light. The glass in fish tanks runs from a half inch to two inches
ihick, depending upon the size of the tank, and that is important. You do not
want reflections into the lens, while you do want the light to reach back into the
tank, and neither of these factors will respond correctly to haphazard handling.
You will get the greatest penetration with the least glare in the lens by placing
your reflectors parallel with the glass and then tilting them slightly down. The
best rule of thumb to follow is to place one lamp on each side of and about eight
to ten inches higher than the camera. The camera, itself, should be tilted down,
the front being an inch or so lower than the back, with the lights at approxi-
mately the same angle. When the light rays strike the glass at this angle
they have a tendency to flatten out and penetrate the water on a more or
less horizontal line. Keeping the camera tilted, too, is merely a safeguard
against getting a reflection from the glass. If you [Continued on page 557]
547
The titles you make
NORMAN D. TAYLOR, ACL
Simple methods of
title experiment
for home workers
Charles DuBois Hodges, ACL
TITLE making is as pleasant and easy
as other forms of cinematography and
it is a rattling good pastime for a
winter's evening. If the work is well done,
it will greatly add to the film and will give
the movie maker a taste of the same satis-
faction of accomplishment that an author
feels who sees his book in a store window,
all nicely encased in a gold lettered red cover, a veritable "best seller."
Titles, themselves, may be made in a great variety of ways. The most com-
mon method is that employing cards with either typing or hand lettering. These
may be lettered in an endless number of styles. The amateur who cannot letter
easily may employ movable letters. These may be of wood, celluloid, metal or
paper and must be used for the most part in titlers which are larger than those
for cards. If the amateur is handy with tools, he will find it very easy to make
a satisfactory title board following the directions which have been published in
Movie Makers or, if he desires, he may design one to his own tastes. Funda-
mentally, any titler is nothing more than a device to hold the camera in correct
relation to the surface upon which the lettering is to be placed. If the letters
are to be fastened to the board, it may be used in a vertical position; if movable
letters are used, the horizontal position will be found most convenient. There are
many types of inexpensive titlers on the market employing the above systems.
Some of these have a supplementary lens which takes care of the close focusing
necessary at short range.
Some forms of titles may be made without the use of a title board. In this
category would come the use of wooden block letters obtainable at small cost
in any toy store. By placing these so that side lighting will give deep shadows,
very striking effects can be obtained. Other methods will suggest themselves
as the amateur progresses with his title making. For example, the long forgot-
ten box of anagram letters can be pressed into service.
An interesting variation in title making is supplied by the use of glass as a
support for the letters. In this case the letters are best made of paper, either
cut out by hand or purchased already gummed from a stationer. The illustra-
tions show how this method allows the inclusion of appropriate backgrounds.
For example, a few popular books of travel stacked up behind the glass will
form an interesting background for that reel of the summer's trips. A glass title
frame will also permit the introduction of motion in the background, simulat-
ing double exposure. The lettering is placed on a sheet of clear glass and the
glass is held in front of the camera so that the scene desired may be photo-
graphed through the letters. A very professional effect may be secured by
starting the camera with the focus on the background and gradually changing
it to the letters and then, after the usual running time for the wording, changing
the focus so that the background again becomes sharp.
In laying out a title, whether it be for hand lettering, printing or movable
letters, always leave plenty of space on all sides. It is disconcerting to see whole
letters and even words chopped off on the screen because of poor original cen-
tering and crowding too much into the available space. Try to get a pleasant
balance or display of the words. In writing a title card, lightly block out with
a pencil a series of rectangles within the space you want the lettering to occupy,
then draw light lines and space out the letters evenly, giving prominence where
it is needed. When you are quite satisfied with the arrangement, go ahead with
the inking, finally erasing the guide lines. It is much like show card writing.
Use plenty of blank space and balance it with the letters.
It is generally conceded that the best plan for plain titles is to arrange white
letters on a black background. If you are using reversal film, or negative film
for future printing, this means that it will be necessary to letter with white ink
on black cards. However, excellent results may be obtained by using positive
film in the camera and developing it as a
negative with a contrast developer. In that
case, black letters on white cards will ap-
pear in the print as brilliantly white
against a deep black background. Photo-
graphic backgrounds for a title are pleas-
ing if a suit- [Continued on page 571]
Varied
rea d i
with
backgrounds
ly achieved
use of glass
548
Please edit!
DR. KINEMA, ACL
ONE of my pet horrors is the chap who explains that
he has not edited the film which he is about to
show, that it is just as it came from the camera, that
it consists of just a few random shots and that it really doesn't
amount to anything at all. These excuses repeated ad infi-
nitum are a never failing danger signal. Why has the film
not been edited? There it is in a 400 foot humidor can. It was
necessary to splice four one hundred foot reels together to
make the reel. Why on earth was the job not finished?
I always ache to ask the question directly, but it is one of
those things that is not done in the best amateur cinema
circles. We amateurs have acquired a lack of frankness and a
polite untruthfulness that is eating away at the foundations of
amateur movie standards. I recognize that there is little to be
done about it. I am as guilty as anyone, for I have reached a
stage of degeneracy where I deliver myself of the most dis-
tressing platitudes when someone shows me a film that is
unedited. My only hope for salvation is our Movie Makers.
Thank heaven we have it, for in its pages we can be frank
and truthful, albeit polite. I can say precisely what I think in
these pages, knowing full well that it will be read by many
non editors and that no offense will be taken; or, perchance,
if offense is taken, it will be wreaked on the Editor who, being
an editor, is accustomed to having all manner of things
wreaked upon him.
Sometimes, one is led to suspect that the maker of a film
does not edit it because he is too lazy to do so. I formerly
thought this the case. However, I am an excellent authority
on laziness, being eminently lazy myself, according to the
pronouncements of my family. I know the mental processes
of a lazy person and they are not those of persons addicted to
not editing their films. With the latter, I think that it is a
shortage of ideas that is at the root of the trouble. A shortage
of ideas is a very serious situation for, without ideas, one is
absolutely sunk when it comes to editing.
One sufferer from
unedited pictures
speaks his mind
Mechanical work
in editing is an
amusing diversion
There are many varie-
ties of idea shortage.
Some persons are short
on ideas concerning the
wording of titles. They
will gnaw an inch off
the end of a lead pencil,
scuff the rug all over the
library floor, groan and sigh for a whole evening and end the
session without a single worthwhile title. This sort of person
may have all kinds of ideas on continuity but his films show
a lack of imaginative titles.
Then, there is the film that is overweighted with titles.
They are so impressive and full of sparkling wit that, when the
actual scenes come along, one is let down. It takes ideas and
showmanship to lift the level of the pictures to that of the
titles in such films. I have seen it done in films that are being
prepared for competitions, but firm character and inflexible
determination were demanded. One must be ruthless — the
smoky underexposure absolutely must come out. The jiggles
and the too rapid panoramas must likewise be removed. It is
necessary to ignore the idea that every film must fill the
humidor can. Somehow, we must implant the belief that a
good 250 foot picture is better than a bad 400 foot one even
if the humidor can is not filled.
When it comes to that necessary quality, rather vaguely
known as continuity, there are as many convictions as there
are people who strive for it. If there was a shortage of ideas
in the original plan of the picture, it is probable that titles
will cover up much of it. I suspect that a film utterly lacking
continuity, but possessing interest arousing titles, would pass
muster, as witness some newsreels. However, in the end, it
might be said that the newsreel is a form of continuity. I once
made a newsreel, called Here and There, which used up a lot
of good odds and ends that I hated to throw away, and I got
a film that stands repeated screenings. I know that the titles
turned the trick.
On the other hand, I once made a film that was meticulously
consecutive, having been led to do so by some rabid conti-
nuity hounds, but I emphasized the mechanics of continuity
too much and, as a result, got a film that was utterly dull.
Too much emphasis on the details of continuity is as bad, I
suspect, if not worse than none at all. We recognize that we
have to enter a motor car in order to be pictured in it and
there is nothing gained by showing the actual getting in
process, unless it has some significance in the whole film.
The trouble is that some of us lose sight of the fact that an
amateur film, first and last, is expected to be entertaining.
Anything in a film that is not entertaining, or does not build
up a sequence that is entertaining, is so much adulteration.
In continuity, as well as in editing, it is the idea that is really
important.
In editing, one's amateur movie making qualifications are
severely tested. No matter how expert one may become in
getting exposure exactly right or in attaining superior com-
position, if one is afraid of the scissors and splicer, a com-
manding picture can never be obtained.
My grievance is that many of us are endowed with superior
qualifications but do not make use of them because of some
inferority complex. In many cases, I am convinced, this inferi-
ority complex comes from being unduly impressed by articles
dealing with advanced motion picture technique. The reader
may become intimidated and a tendency to copy is created.
Once one starts to copy that fContinued on page 569]
By holding the camera upside down
Aunt Emily, as a Christmas angel, will
appear to have soared into the air
550
DECEMBER 1932
CHRISTMAS SHOPPINC
SELECT YOUR GIFTS FOR MOVIE MAKERS FROM THE
EASTMAN EQUIPMENT ON THIS PAGE
Included in the low cost
Cin£-Koda\ K is an attracts
carrying case for cameri
film, color filters, and exit
lens. Both camera and carr\
ing case are available in blac
blue, or brown genuin
leather covering.
The most versatile of home movie cameras
CINE-KODAK, Model "K
n
OR that family, friend, or relative anxious for the best in
home movies, Cine-Kodak K is the logical gift.
Movies indoors, outdoors, at any time of day or night, on
rainy days as well as clear ones . . . telephoto or wide angle
shots, the incomparable beauty of natural color movies made in
Kodacolor . . . all are within the range of Cine-Kodak K.
It is equipped with either an J~.3.5 or /.1.9 lens, each instantly
interchangeable with the other and with the following lenses
supplied as extra equipment — /.2.7 wide angle lens, or any of
four telephoto lenses. Its winding crank is an integral part
of the camera and cannot be lost or misplaced. It has two
finders — eye-level and waist-height; an automatic footage indi-
cator; built-in exposure guide that tells you "what "stop" to use.
Half speed at the press of a button doubles the exposure time;
adds hours to the movie making day. There's plenty of finger
room for quick and easy film loading. Its convenient shape makes
it easy to carry, easy to pack.
Competent, but not complicated, Cine-Kodak K couples the
full range of home movie pleasure with a remarkably low cost.
Cine-Kodak, Model K, f.1.9 costs but $150 including case.
Model K, f.3.5 is priced at $110 including case.
CINE-KODAK TITLER
With the inexpensive Cine-Kodak Titler anyone
can make his own titles. It's all fun, no trouble.
Hand-drawn, typewritten, animated titles, "art"
titles made with snapshot backgrounds or with
illustrations clipped from magazines . . . they're all
within the scope of Cine-Kodak Titler, built for
title making with all Cine-Kodaks. The Cine-Kodak
Titler holds the Cine-Kodak rigidly and provides
the necessary supplementary lens and easel for mak*
ing titles.
Cine-Kodak Titler, complete -with ioo title cards,
framing and typing masks, $6.50.
EASTMAN Kd
MOViE MAKERS
551
. .Sim pi i fie
The most efficient of
home movie projectors
KODASCOPE, Model "K"
_L HEATER-LIKE projection brilliance with
imaging ease and convenience — those are the two
mtstanding characteristics of this projector.
Its special 260-watt lamp and improved optical
ystem account for increased brilliance. There's a
eceptacle for plugging in a bridge or table lamp,
o that when the Kodascope lamp switch is on,
be room light is off, and vice versa. Its controls
re readily accessible on one panel. Its central oil-
ig point lubricates most of the important bear-
lgs. And its improved claw mechanism makes
rojection almost entirely noiseless. New type
n and ventilator keep the projector cool even
ter a full evening's projection.
Kodascope, Model K, complete costs but $160 —
dth carrying case, $175. It operates on 100-125
alts, A. C. or D. C.
PECIAL LENSES
?aster lenses for easy indoor movies
. telephotos for distant snots in close-
proportions ... a wide-angle lens for
ger picture areas — all are available for
ners of Cine-Kodak K. There are
en lenses for the "K." See them at
ir nearby Cine-Kodak dealer's.
*articularly useful at this time of the
r is the 15 mm. f.z. 7 wide angle lens
indoor filming. It covers a greater
a from short distances than other
lenses.
COLO/? FILTERS
Filters bring greater realism and added
beauty to movies. There's a color filter
for every model Cine-Kodak and for
every lens available for every model.
Their prices range from $1.25 to $3.75,
each; and for the standard lenses there
are sets of three graduated filters supplied
in attractive cases.
Your nearby Cine-Kodak dealer will
tell you the proper filter or filters to
get. Put several on your Christmas list
right now.
FILM
Cine-Kodak Super-sensitive-Panchro-
matic Film makes a gift every movie
maker can put to immediate use, indoors
or outdoors, on Christmas Day. It's
twice as fast as regular Panchromatic
Film in daylight . . . three times as fast
under artificial light. One or more 35-
cent Mazda Photoflood lamps furnish
ample light for easy indoor shots.
Cine-Kodak Super-sensitive "Pan"
costs only $4 for the 50-foot roll, $7.50 for
the 100-foot roll, including processing.
K COMPANY • Rochester, New York
550
DECEMBER 1932
Competent, but not complicated, Cine-Kodak K couples the
full range of home movie pleasure with a remarkably low cost.
Cine-Kodak, Model K, f.1.9 costs but $150 including case.
Model K, f.3.5 is priced at $110 including case.
»Jine-J^oaaK 1 ltler, complete -with ioo title care
framing and typing masks, $6.50.
EASTMAN KC
DECEMBER 1932
MOVIE MAKERS
CHRISTMAS SHOPPING.. .Simplified
SELECT YOUR GIFTS FOR MOVIE MAKERS FROM THE
EASTMAN EQUIPMENT ON THIS PAGE
Included in the low cost of
Cind-Koda\ Kisan attractive
carrying case for camera,
film, color filters, and extra
lens. Both camera and carry
ing case are available in blac\t
blue, or brown genuine
leather covering.
The most efficient of
home movie projectors
KODASCOPE, Model
AHEATER-LIKE projection brilliance with
amazing ease and convenience — those are the two
outstanding characteristics of this projector.
Its special 260-watt lamp and improved optical
system account for increased brilliance. There's a
receptacle for plugging in a bridge or table lamp,
so that when the Kodascope lamp switch is on
the room light is off, and vice versa. Its controls
are readily accessible on one panel. Its central oil-
ing point lubricates most of the important bear-
ings. And its improved claw mechanism makes
projection almost entirely noiseless. New type
fan and ventilator keep the projector cool even
after a full evening's projection.
Kodascope, Model K, complete costs but $160—
with carrying case, $175. It operates on 100-125
volts, A. C. or D. C.
The most versatile of home movie cameras
CINE-KODAK, Model "K"
-p
JL O R that family, friend, or relative anxious for the best in
home movies, Cine-Kodak K is the logical gift.
Movies indoors, outdoors, at any time of day or night, on
rainy days as well as clear ones . . . telephoto or wide angle
shots, the incomparable beauty of natural color movies made in
Kodacolor . . . all are within the range of Cine-Kodak K.
It is equipped with cither an f.3.5 or /.1.9 lens, each instantly
interchangeable with the other and with the following lenses
supplied as extra equipment— /.2. 7 wide angle lens, or any of
four telephoto lenses. Its winding crank is an integral part
of the camera and cannot be lost or misplaced. It has two
finders— eye-level and waist-height; an automatic footage indi-
cator; built-in exposure guide that tells you what "stop" to use.
Half speed at the press of a button doubles the exposure time-
adds hours to the movie making day. There's plenty of finger
room for quick and easy film loading. Its convenient shape makes
it easy to carry, easy to pack.
Competent, but not complicated, Cine-Kodak K couples the
full range of home movie pleasure with a remarkably low cost.
Cine-Kodak, Model K, f.1.9 costs but $150 including case.
Model K, /.3.5 is priced at $110 including case.
CINE- KODAK TITLER
With the inexpensive Cine-Kodak Tit**T™l\tc.
can make his own titles. It's all tun. "j "art"
Hand-drawn, type-written, animated - ^j,
titles made with snapshot backgrounds^,^ a„
illustrations clipped from magazines ■ . ■ ^^ for
within the scope of Cine-Kodak i,'J"-fV;n{.KoJak
title making with all Cine-Kodaks. The o iia
Titler holds the Cine-Kodak rl«ldlj[ '"selfor mlk'
the necessary supplementary lens and e
ing titles. ' title caris.
Cine-Kodak Titler, complete with i°°
framing and typing masks, $6.50
FECIAL LENSES
aster lenses for easy indoor movies
■ ■ . telephotos for distant shots in close-
"P Proportions ... a wide-angle lens for
' "ger Picture areas— all are available for
owners of Cine-Kodak K. There are
s=ver, lenses for the "K." See them at
>°ur nearby Cine-Kodak dealer's.
.Vear"'CK y Useful at this timc of th<=
for "inn i5, mm- -f-2-? wide ang,e lenS
area f fiImmg. It covers a greater
fasr 1 short distances than other
,lst lenses.
COLOR FILTERS
Filters bring greater realism and added
beauty to movies. There's a color filter
for every model Cine-Kodak and for
every lens available for every model.
Their prices range from $1.25 to $3.75,
each; and for the standard lenses there
are sets of three graduated filters supplied
in attractive cases.
Your nearby Cine-Kodak dealer will
tell you the proper filter or filters to
get. Put several on your Christmas list
right now.
Cine-Kodak Super-sensiti
matic Film makes .. >,l- 1
maker can put to immediate
or outdoors, on Christmas Day. It"*
twice as fast as regular Panchromatic
Film in daylight . . . three times as fast
under artificial light. One or more 35*
cent Mazda Photoflood Jampn furnJih
ample light for easy indoor shot*.
Cine-Kodak Super-sensitive "Pan"
costs only $4 for the 50-foot roll, $7. 50 for
the 100-foot roll, including processing.
EASTMAN KODAK COMPANY • Rochester, New York
The fine art of titling
PAUL D. HUCON
TITLING is a task to be taken seriously. It does not con-
sist of writing a few haphazard wisecracks that would fit
one picture as well as another and it does not consist
of telling in words a story which is not told in action. If a
film is worth screening, it deserves a thorough job of titling,
done consistently in the mood of the picture. This titling
should help the film where it is weak without appearing to
do so. It should underline the points that need emphasis and
add suspense. The titles should harmonize with the action
and with one another as do the instruments in an orchestra
or the voices in a quartet. If the spectator remembers the
titling, as such, that is not always to be taken as a compli-
ment: it may show, on the contrary, that the words are out
of balance with the action — too strong or too weak as the
case may be. A good title is accepted as unconsciously as the
lining of a well tailored garment. The title writer should look
elsewhere than to the audience for approval of his work.
Mood, of course, is the paramount requirement in any title.
Even commonplace narrative statements in a comedy have
to be couched in a light vein. Instead of writing, The Jones
shack, which is colorless and sounds like courtroom evidence,
it is easy to write, The Jones estate. If there is room for more
footage, the title legitimately expands to Except for the Trust
Deed, the First Mortgage and the Second Mortgage, the
Joneses were sole owners of their estate. There is no need to
be too stingy on footage, as long as the type is legible and
the title does not exceed twenty to twenty five words. Sim-
plification of ideas will do more to create an appearance of
brevity than cutting down the actual number of lines. The
title just given contains only one idea, ownership, although
it is expressed in twenty words. It builds up that one idea
to the point of maximum effectiveness. To make full use of
a situation, be it expressed in titles or in action, is a surer
sign of mastery of the medium than extreme condensation
of an excess of material. That twenty word, one idea title
was easy to read; it
built up suspense; it
was in the mood of the
picture as a whole. As
last impressions are al-
ways remembered more
vividly, the last word of
the title was "estate,"
Refinements that
give distinction
to amateur titles
immediately preceding a view of the shack. This anticlimac-
tic method helps the comedy mood; it would be lost if the
word order were changed. In a drama in which the estate
is a reality, the case will be reversed: For ten generations,
the gray walls of Dunbar ton Castle had echoed the comings
and goings of a proud family. Here, the use of the past tense
("had echoed") increases the feeling of time and fate. It
adds spaciousness and builds up the historic mood by sum-
ming up past events. The title ends on the word, "family,"
which strikes the keynote of the story.
If the first scene in that dramatic setting happens to be the
arrival of an heir, the title will be modified accordingly:
For ten generations, the gray walls of Dunbarton Castle had
witnessed the solemn moments in the lives of a proud family
— of course without direct reference to the event about to be
shown. A title should never, never "tip off" what the film
itself is about to show. That is the one absolute rule of title
writing that is discounted only in newsreels and scientific
films. Any "tip off" weakens the action instead of building
up suspense, as if one read the last pages of a novel before
tackling the story. But, if the picture fails to show the action,
the title has to make up for it: We heard the roar of lions in
the tall grass. The roar is not photographed and probably the
lion is not seen at that stage. These things may be presented
in the title which would precede a scene showing the sur-
prise and alarm of the hunters.
Although titles are not substitutes for action, they have to
be used as such when action fails, when it is impossible to
photograph a needed scene or when it is undesirable to
present it graphically as in an instance represented by the
title, He shot himself. Even in this case, some kind of pre-
vious scene should give support to these words and the action
immediately following must be adequate for the magnitude
of the event. In working toward this, the title writer must
be allowed the privilege of changing the editing of the film
to make best use of whatever shots will help him to build an
appropriate setting for the titles. Editing and titling go hand
in hand.
Whatever the mood of the picture, an opening title is ex-
pected to lead the mind directly into the scene that follows.
Between sequences, there is often great advantage in having
the title supply the transition between what has been shown
and what is coming. Examples of [Contitnued on page 566]
Charles DuBois Hodges, ACL
Test your ability
by writing a title
to fit this scene
552
Photo study from
"The Last Entry"
by J. F. Bell, j r., ACL
Hartford meets ■ The Amateur Cinema Club of Hart-
ford, starting the new year with this
slightly revised name, held recently its first meeting of the
season at the Hartford Golf Club. Seven 400 foot reels, made
by members during the summer, were projected, with a de-
scription of the problems of each film given by its maker
before the screening and a general discussion of them fol-
lowing. First Day at School, by W. C. Goeben, ACL, was well
received because of its many closeups and carefully devel-
oped continuity; North Africa, by B. H. Blood, ACL, was
distinguished by its thorough editing which left not a single
frame of unworthy photography; Holland and the Rhine to
Switzerland, by Thomas W. Russell, ACL, showed unusually
pleasant lighting and compositions in its travel record. Other
members' films projected included a Kodacolor scenic of
Switzerland, by Clement Scott, ACL; an eclipse film, by
Arthur A. Hebert, jr., ACL; a travelog of Mexico, by Miss
Williams; an auto trip to Ontario, by Dr. Lane. The Hartford
club is anxious to exchange members' films with other ama-
teur groups on an informal, non contest loan basis, a splendid
program activity with which the Amateur Clubs department
is eager to cooperate. Other groups wishing to get in touch
with the Hartford club may address it in care of the Amateur
Cinema League.
Reorganization ■ Reorganizing to secure a more closely
knit group, the Cinema Club of San
Francisco has discarded, at a late meeting of the directors,
the sectional organization orginally followed. All meetings
will now be general meetings. They will be planned to inter-
est each of the members at some point, and should guard
against the disintegration of unitary club strength sometimes
threatened by the diverging interests of several sections. In
the reorganization, G. A. Young, vicepresident of Camera
Craft Publishing Company, has been chosen as secretary of
the club and Herbert Luhn as treasurer. Results of the club's
recent contest, for which there was offered a silver plaque
by Mr. Dohrmann, ACL, will be announced later.
Parisian election ■ ^n Paris> officers and directors of
the Club des Amateurs Cineastes
en France for the coming year have been elected as follows:
Paul Lemare, president; Samuel T. Shaw, jr., ACL, vice-
president; Pierre Bonvoisin, secretary and treasurer; Georges
Gronostayski, technical consultant; Jacques Lemare, studio
manager; Pierre Boyer, Jacques Valdes, ACL, and Jacques
de Tourtier, consultant officers. An active season is already
under way in which technical addresses and the screening
of members' films will be featured.
Humming birds ■ A film study of humming birds, show-
ing them in unusual closeups as they
build their nest and rear their brood of young, was screened
by Guy Harris at the opening meeting of the Sunkist Movie
Makers, in Covina, Calif. Dr. and Mrs. W. Jarvis Barlow
completed a successful program with the presentation of
three reels from their travelog of British East Africa in the
region of Uganda and the White Nile. At a later meeting,
held in Hollywood, The Fall of the House of Usher, from the
League Club Library, was screened and a new color process
was demonstrated, according to the report of club president
Rudolph R. Hartman, ACL, recently chosen as the guiding
officer for the present season.
Friendly ■ A friendly club cosmopolitanism is apparent in
the list of judges who served in the recently
completed contest held by the Greater Oakland Motion Pic-
ture Club, in California. There were among them Dr. Freder-
ick H. Burton, ACL, secretary of the Berkeley Amateur
Movie Club; G. A. Young, secretary of the Cinema Club of
San Francisco; J. Dunning, member of the Richmond Cam-
era Club; as well as Alfred Hargreave and 0. J. Smith. The
decisions of this board of judges, which were heartily sec-
onded by members of the Oakland club, gave first award to
Waterways, by Elton Fox; second award to Rylock, by E. G.
Thompson; third award to Ahwahnee, by Edwin C. Rosen-
berg, ACL. In Camera-Action, the club news letter, the en-
tire competition was reported as a great success, with an
unusually high quality
to be noted in all entries.
Officers for this year
have recently been elect-
ed with William G.
Latimer, ACL, presi-
dent; Mr. Thompson,
[Continued on page 575]
news
of
Latest
group activities
and photoplays
IAMES W. MOORE, ACL
Amateur clubs
Ewingr Galloway
Beautiful and valid
scenes may be used
in connected whole
AN amateur movie maker does not have to shoot many rolls of his own
MJ^ film, or look at many reels of his friends, before admitting that the pot
# % shot is prevalent among us. Even those who work from a preconceived
plan cannot resist the temptation of taking odd shots now and then of a beautiful
landscape, cloud formations, a snow laden tree, interesting antics of the children
or a thousand other things that seem to attract cameras.
In themselves, these little shots are probably beautiful and valid, but one
cannot hook up the projector to show just five feet of film. Even spliced together,
they are still unsatisfactory because of their lack of relationship. But something
can be done with these pictures and one can have a lot of fun in doing it.
The first move is to borrow a pair of the household shears and cut some plain
white paper into strips approximately the width of the film and about eight
inches long. Incidentally, ticker tape would be excellent for this purpose or one
might use the wider variety of roll confetti streamers. The next step is to sit
down at a table of comfortable size, pile up on one side the reels that contain
the odd shots and on the other a large tin can or box. Then, using a projector
or a winding and viewing machine, take the reels, one by one, examine them
and cut them up into separate scenes, writing a description of each shot on two
strips of paper.
Let me say, here, that in describing any given scene you should phrase it
impersonally rather than personally. Do not, for instance, describe it as Johnny
snoivballing Rex but, rather, give it a general identification, such as Small boy
(then Johnny in parentheses if you like) throwing snowballs at dog (Rex).
Such a general description often will permit you to work this shot into a picture
which may have no relation, whatever, to Johnny or Rex.
After you have described the scene generally on these two stripsof paper, wind
the film up into a small roll, bind it with one of the strips and a rubber band
and lay the other description aside. If you are really methodical, you may mark
the strips with corresponding numbers so that you may file both index strip and
corresponding film numerically. Proceed in the same manner with each of the
odd shots that you have collected, being heartless enough to discard any
which are not absolutely perfect photographically, since this is a question of
making something out of nothing and not something out of less than nothing.
This will probably occupy you for several rainy evenings or, better still,
rainy Sunday afternoons. When you are finished with this part of the job, you
will have a can full of properly labeled scenes and a fist full of corresponding
strips of paper with the scene identifications on them. Now you can put the film
away and play the game. The idea is to spread out the various strips of paper
in front of you, whereupon, after a few minutes' study, there will occur to you
a plan for building a picture. It is then merely a matter of selecting those scenes
that would pertain to such a picture and arranging them in logical order.
For instance, I found that I had scenes such as ice floating on the Hudson
River, the bow of a ferry boat breaking through sheet ice, children playing in
the snow, a snow banked brook in winter, water dripping from eaves of a house,
the same brook flowing full in early spring, low, dark rain clouds blowing
rapidly across the sky, my daughter coming out of the house in oil skins and
sou'wester, she, in the same costume, plodding through fog in a woods bare of
leaves, long shots and closeups of pussywillows with moisture on them, some
early spring buds, Jack in the Pulpits, ducks on a lake in sunshine, several
beach scenes, summer landscapes, daisy fields, beautiful summer cloud forma-
tions, trees blowing and losing their leaves in autumn, light snow falling, sunsets
and other oddments. You have probably decided for yourself what these scenes
would lend themselves to. I chose a theme which might be called Transformation
of Nature. It is also quite apparent what would be the logical arrangement of
the scenes in the picture and what the titles, if any, should be.
Among your shots, you will probably find plenty of others taken about your
home town which would lend themselves to a picture that might be entitled,
In and around Squeedonk in 1932. If you
happen to be a commuter, as I am, you
would start off with your gang boarding
the 8:15 in the morning, carry them into
the city, show the points of interest that
they may pass by during the day and, by
angular weaving shots of the town's sky-
scrapers, even [Continued on page 571]
Creating films out
of odd fragments
and random shots
DONALD C. McGIEHAN, ACL
Something from nothing
554
555
Photoplay guides
ERNEST W. PACE, ACL,
and WILLIAM A. PALMER
Suggestions upon
fundamental plans
for amateur plays
THE production of even the most sim-
ple photoplay necessitates a consid-
able amount of forethought. An ama-
teur is tempted to begin shooting as soon
as he has the story reasonably well in mind.
Yet, the time spent on preparation should
be at least equal to the time spent on film-
ing. It is not our intenion to list a series of
rules, to present a text book description of photoplay technique or to tell how
movies are made in Hollywood, but only to discuss the problems facing the
amateur who decides to tell a story in film. Some of these are the choice of a
story, the conversion of the story to script form and the formation of a producing
staff. The choice of a story comes first.
In a few instances, the camera owner may wish to use a well known story or
novel as the basis for his scenario but, in general, the results will be better and
the sense of achievement greater if the producer is his own author and builds
the story according to the available tools and talents. Then the producer or
director truly becomes an artist and the pen of an author or the brush of a
painter can achieve no greater effects than can the cine camera.
One of the most frequent faults of the home made amateur plot is its com-
plexity. It is a common error to attempt the production of an involved story
when the use of a mere incident, or the simplest of plots, will result in a finer
piece of work. Later, after one has made a few photoplays, he may attempt a
more ambitious one and the plot may then be more involved, but only in pro-
portion to the length of the film.
How shall an amateur go about the creation of his plot idea? He must decide
first upon the type of a story, whether it is to be a comedy or a melodrama, a
mystery play, a human interest story or a burlesque. Remember that a tragedy,
or intense drama, and its antithesis, the "slapstick" comedy, are the two most
difficult types of stories to use, while either a farce or a simple situation comedy
is much easier. Best of all, perhaps, is the human interest story centering around
a group of children, an animal, or the love of a youth for an attractive girl. In
fact, any of the standard, simple plays upon emotion, hackneyed though they
may be, still possess dependable appeal that will add strength to the weakest
production.
Having decided upon the type of story, an amateur producer must then
consider a number of factors which condition the choice of an actual plot. First,
it is well to begin by listing the available locations, for these are the sets which
the amateur must use for his story. It is neither feasible nor necessary for him
to build elaborate settings. If he is in a mountainous district, he may have
lakes, rivers, meadows and a wilderness which indicate a certain type of
story. It may be that in the neighborhood there is an old abandoned house
which will lend itself to spooks, criminals and detectives; even at one's own
home there are porches and yards, corners with old clocks and desks, stairways
and rooms, all offering clues for a suitable narrative and suggesting the appro-
priate action.
Limitation of experience or of equipment will not permit as elaborate or
ambitious a photoplay as otherwise might be attempted. The available talent
must be taken into consideration. The actors should not be called upon to por-
tray roles entirely foreign to them in the way of age, appearance or common
experience of life. When, in a film story, a girl of eighteen is represented as the
mother of six children, although boxes of makeup may be used, the result is
rarely convincing. The choice of plot is further influenced by the amount of time
that may be spent on the picture and the amount of film that may be used.
With the plot conceived at last, the simplest method of working it out on
paper is to outline it from the beginning in sequence form. A photoplay
sequence may be defined as a series of scenes in which the action is continuous,
without a break in time or thought. It is analagous to a paragraph in prose. We
have found from experience that much time is lost and little is gained by writing
out the plot in the form of a short story. One is likely to dwell too long on the
description of a scene, on the emotions or thoughts of a character or to insert
conversation which cannot be reproduced by the camera. In sequence form,
the bare details of the action are given and only the necessary titles are inserted.
Remember that an explanatory title usually shows a weakness in the story and
that conversational titles or an occasional time [Continued on page 572]
Cooperative action
o f cameraman and
director essential
William A. Palmer
556
Ewing Galloway
Civic M Industries, transportation facilities, civic activities
and recreation facilities of Homestead, Pa., are
shown in detail in an eight reel picture made by Dr. Ralph
M. Miller, ACL, and John C. Forbes. The picture, made for
the Homestead Chamber of Commerce, is one of the most
complete civic records ever filmed by amateurs. The great
steel and iron works located at Homestead are duly empha-
sized in the film, and among its chief photographic achieve-
ments are scenes of steel boiling in the furnace and of the
open hearth process. So complete is the presentation of each
industry that the film might be said to be made up of a series
of industrial studies.
■ The use of 16mm. motion pictures as detective and star
witness in civil suits continues and movies bid fair to become
as important and as readily accepted legal evidence as still
photographs. There is still some quibbling about the possi-
bility of movie trickery, but the methods of detecting 16mm.
movie tricks are so simple that this question is usually quickly
settled. If the film to be used as legal evidence is left entirely
intact as it is returned from the processing station, without
cuts or splices, little can be said against it as evidence. Fox
vs. New York Central, 100 ft., 16mm., made by Hamilton H.
Jones, ACL, of Buffalo, N. Y., was successfully used last year
by the defendant. The plaintiff, who was suing for damages
based on the claim of an injured back and broken neck, was
filmed celebrating Fourth of July in a manner that, when the
pictures were screened for the plaintiff and his attorney, was
followed by the settlement of the case out of court at the rail-
road's figure.
■ E. M. Goodman, ACL, building commissioner in Evanston,
111., is making a film to record the activities of the various
departments of Evanston's municipal government to show
tax payers and civic groups the services rendered by the
city in return for taxes.
■ The Oregon Game
Commission has added
to its 16mm. motion pic-
ture library A Success-
ful Day Afield with the
Hun, a one reel picture
Reporting uses of
personal films for
various purposes
Marine shipping is
a feasible subject
for amateur films
of hunting made by Victor Bracher, ACL, of Pilot Rock, Ore.
The film presents the rules of good sportsmanship and shows
how the hunter may cooperate in game conservation.
School ■ H°°d College, Frederick, Md., of which Joseph
H. Apple, ACL, is president, has lately had its
film study of college life reedited and retitled and is using
it more widely than ever. Recently it was screened for sixteen
high schools and four private schools during a tour of the field
secretary. Newton Underwood, instructor in physics, has been
given charge of both still and motion picture photography.
■ Eidetic Imagery is the title of an interesting psychological
film made this year by W. F. Bischoff, ACL, under the direc-
tion of Dr. J. Edward Rauth, instructor in psychology at
Catholic University, Washington, D. C. This picture, running
250 ft., 16mm., shows tests of the retention of eidetic images
by pupils of St. Mary's Industrial School for Boys in Balti-
more, Md. These images, one of the most interesting phenom-
ena with which the psychologist deals, resemble memory
images, in that they may be reproduced at will, and after
images, in clearness of detail. This ability may be tested by
showing a child a detailed picture placed over a gray screen.
The child is told to look at it carefully and after fifteen sec-
onds the picture is removed and the child is asked if he sees
anything on the screen. If he is eidetic, he will usually begin
to describe the picture with speed and perfect accuracy.
After a few minutes the child relaxes and, if he continues to
describe the picture, it is from memory and his performance
falls far below the level set while looking at the eidetic image
on the screen. The film records a number of different tests
of this ability and illustrates the remarkable clarity with
which psychological phenomena may be presented in motion
pictures.
B To illustrate the pleasures and the problems of pictorial
photography, Charles J. Carbonaro, ACL, has produced, in
collaboration with Adolph Fassbender, a two reel film, From
Scene to Salon, which has been used this season with marked
success in Mr. Fassbender's courses on photography at the
Brooklyn Institute of Arts and Sciences. In the first reel, all
outdoor, one sees the right and wrong ways of getting picto-
rial compositions. The second reel shows laboratory processes.
Practical films
MOVIE MAKERS
557
Book now ready
THE Amateur Cinema League has
prepared an unusual and an ex-
ceedingly valuable Christmas gift
for its members in the publication of
Making Better Movies, the first full
length book to be issued by the organi-
zation. This volume is now ready for
delivery.
Making Better Movies is the product
of the joint authorship of Arthur L.
Gale, editor of this magazine, and Rus-
sell C. Holslag, its advertising manager,
both of whom have during the year
been promoted from the posts of Con-
tinuity and Club Consultant and Tech-
nical Consultant of the League, respec-
tively. The authors have brought to this
book an experience that is entirely
unique, because they have examined
more amateur films and have answered
mere amateur questions than anyone in
the whole world. They have worked out
for the League, during its lifetime, a
definitely amateur technique that stands
alone in its quality.
Making Better Movies takes up ama-
teur filming just as the amateur ap-
proaches it. The chapters are progres-
sive, as the amateur is progressive,
the first one containing a complete
guide for the beginner at the camera,
the second one being written for the be-
ginning projectionist, the third for the
average filmer, the fourth for the devel-
oped movie maker and the fifth for the
advanced worker. All of the discussions
are original in their emphasis on defi-
nitely amateur requirements and view-
points. The book is over 200 pages in
length and is printed very attractively
on excellent paper; it contains a num-
ber of diagrams and charts.
As with the League's bulletins, this
first full length publication is reserved
to members of the League alone. It can-
not be secured in any other way except
by membership. Each new member will
be offered one of these volumes. Old
members of the League will receive a
volume automatically, if they have re-
quested that their names be placed on
the mailing list for bulletins. Old mem-
bers who have not made such a request
should write to headquarters, asking for
a copy of Making Better Movies, be-
cause, following the custom of the or-
ganization, its valuable publications,
with the single exception of Movie
Makers, are not sent broadcast to its
membership, but only upon request.
The League takes a real and a par-
donable pride in the publication of this
important volume at a time when some
organizations, because of financial prob-
lems, have been forced to curtail their
member services. Not only has the Ama-
teur Cinema League maintained all of
its services intact during the recent
financial crisis, but it now goes a defi-
nite step further with the presentation
of this important book to its member-
ship.
It is hoped that every League member
will see to it that Making Better Movies
is in his hands before Christmas. A
postcard, letter, telegram or a telephone
call will start this Christmas gift on its
way to you.
Fishing with film
[Continued from page 546]
should catch one, your finder would
show it, of course — but on a "hot shot"
you are likely to pay no attention to it
in the excitement, so it's wiser to avoid
that possibility in advance.
When possible, it is safer all around
to put the lights over the tank, a foot or
so above the water and behind the glass
front. This eliminates many of the diffi-
culties and, if the tank has a sandy bot-
tom, it gives you the valuable aid of a
good reflector. You need not worry, or-
dinarily, about an excess of top light-
ing, for most fish, being light under-
neath, need more illumination on top
and, with the lights above them, they
are likely to go down nearer the bottom.
When working with public aquarium
tanks of the larger sizes, however, one
must watch his step if the overhead
lights are in the dead center of the tank,
or else the fish may swim between the
light and the lens and be unduly back-
lighted. Should the outlets or the reflec-
tors be fixed in a position which cannot
be altered, you can use lights both over
the tank and in front. Or, if you are
working with only a few models, you
can stop shooting when the fish come
out of the prescribed area.
Lighting exclusively from the front
does not give very much penetration in
a large tank with a dark background.
On the other hand, the same volume of
light from the front in a smaller tank
with a sandy bottom may produce ex-
cellent results. One advantage of the
small domestic aquarium is that one
may place a light colored reflector close
behind it and thus avoid the pitch black
backgrounds that are found so often in
six and twelve foot public tanks.
With two Photofloods at four feet and
an aperture of //3.5, it is a simple mat-
ter to adjust illumination and lens open-
ing to variations from this basis. If the
fish is too large to be covered by lights
placed so close, if the tank is big and
the fish do not choose to come within
the four foot range at your beck and
call or if the bulbs must be placed in
fixed outlets at greater distances from
the subject, then you must make the
proper adjustments by either opening
the lens or adding more bulbs. The saf-
est thing to do is to begin with moderate
sized fish that can be shot fairly close
to the glass. Then, when you see what
success you have, you can branch out as
far as you like.
A Rare Gift
FOR A
RealPhotoFan
KODAK
PUPILLE
Miniature precision
camera from Eastman's
German factory . . .
THIS new and extremely versatile
camera has already won wide
favor among movie makers who de-
mand compactness and efficiency in
their "still" equipment.
Kodak Pupille makes sixteen pic-
tures, i%e" x i%(i", on a roll of "vest
pocket" (No. 127) Kodak Film. Its
f.2 anastigmat lens assures good expo-
sures under practically all light con-
ditions. It permits pictures as close as
2V2 feet from the subject without an
auxiliary lens.
Other features include : Compur
shutter with speeds up to Vsoo second,
besides bulb and time; detachable
periscopic range finder; precision-cut
spiral mount for accurate camera ex-
tension; safety shutter lock; built-in
depth-of-focus scale.
See Kodak Pupille at your Kodak
dealer's. Price, complete with case,
range finder, two color filters, cable
release, and camera foot, $75.
EASTMAN KODAK COMPANY
ROCHESTER, NEW YORK
558
News of the industry
New plan ■ A new plan in 16mm. merchandising is an-
nounced in this number of Movie Makers
by the Bass Camera Company, 179 West Madison Street,
Chicago. This company in presenting the latest Stewart
Warner projector offers a thirty day trial of the equipment
with the privilege of money refunded if the purchaser is not
pleased. A liberal trade in on other projectors is also offered
by Bass. This makes possible a full time of experiment by the
purchaser before he makes a final decision as to his definite
choice.
EleCtrophot I The well known pioneer in the manufac-
ture of photoelectric exposure meters, J.
Thos. Rhamstine, 501 E. Woodbridge Street, Cleveland.
Ohio, has recently introduced a new model of the famous
Electrophot. Dispensing with the battery and employing the
new Rhamstine Electronic cell have brought the meter up to
the last word in reliability. While making this important
change, there have been incorporated further improvements.
These include readings for both still and movie cameras and
a quick reference chart for use with color filters and other
special work.
Titled Eights H For the users of the popular Cine-Kodak
Eight comes the announcement that 8mm.
titles are now supplied by the Kodascope Editing and Titling
Service, Inc., 350 Madison Avenue, New York City. The same
attractive variety of backgrounds and type styles can be had
as are furnished in their well known 16mm. titles.
B & H animation ■ ^ complete, efficient and convenient
animation stand has been recently
announced by the Bell & Howell Company of Chicago. These
well known makers of high grade moving picture apparatus
have provided the 35mm. animation and title worker with a
simple and accurate outfit. A rigid metal frame supporting an
Eyemo 35mm. camera is so arranged that distance from
camera to the title board below can be varied. Exact size of
the area photographed can be seen easily 'by referring to the
camera positions which are numbered to correspond with
rectangles on the board. Reflectors with two Photoflood bulbs
provide the illumination. Remote control for the camera al-
lows for either continuous action or single frame exposure.
th<
Answers
"What's i :
query
?" foi
amateur and dealer
Dallmeyer "tele" ■
Herbert & Huesgen, 18
E. 42nd Street, New
York City, importers of
this famous line of
lenses, announce a new
12" Dallmeyer telephoto
for cine use. Up to the
present time this powerful lens has been used on still cameras
only. Dallmeyer of London has supplied a bracket for sup-
porting the lens and the special finder to go with it. Made
for those who wish to do special work involving a telephoto,
it has the longest focal length yet supplied for 16mm.
cameras.
Pathe bargain I ^he well known firm of photographic
dealers, Willoughbys. 110 W. 32nd
Street, New York City, have announced a very drastic cut in
the price of Pathe motor driven cameras and projectors. They
have secured a large quantity of them and are selling outfits
including camera, two rolls of film, projector and super reel
attachment. This outfit lists at the retail price of $129 and is
offered by Willoughbys for $37.50.
FleCtOTS I A handy, portable reflector, the Flood Flector
No. 3, for use with either Photoflood or Photo-
flash lamps has recently been introduced by the Corcoran
Brown Lamp Company of Cincinnati, Ohio. A standard socket
with switch and large reflector are fastened with a universal
joint to a base which enables the unit to be used on any flat
surface. This unit should find extended use in filming interior
movies of the Christmas season.
Bllb North M The well known manufacturer of aluminum
flake surfaced screens, H. D. North, 1724
Columbus Road, Cleveland. Ohio, has announced a new mod-
erately priced model. This worthy addition to the famous
Bub North line is a handsome, bright surfaced screen in an
attractive polished wood frame with movable legs attached.
A two ply, stained wooden box is provided for protection when
the screen is not in use. The size, 18"x24", is ideal for the new
eight millimeter projectors and may be used with Kodacolor
as well as black and white. [Continued on page 573]
The Simplex camera
is now equipped
for Kodacolor film
£»
EHH
RR«
.'tmtk*',
*\
'-§-%
560
DECEMBER 1932
BROOKS PRODUCTS
/&AMOVIE makers
SCHNEIDER XENON //1.3
Superspeed lens for 16mm.
cameras. 12 times faster than
//4.S. Unsurpassed for poor
ligrht. Highly corrected. 875.
Other Schneider lenses, 34 to
4" focus, $37.50 and up.
TRIAX TRIPODS
And tilting and panoram top
. . . ligrht, compact, strong:,
rigrid. $5.00 and up.
RAMSTEIN OPTOCHROME
Optical glass filters. No gel-
atine used. Graduated and
plain color. $2.60 and up.
SCHEIBE EFFECT FILTERS
As used by professionals for
the varied effects as seen in
the theatres. $3.00 and up.
BADGLEY FILTER
HOLDER
Fits all lenses ISA" and smal-
ler. Grips firmly, adjusts to
any position. $2.85. Specially
priced with Ramstein Filters.
AUTOMATIC DISSOLVE
For "fadein," "fadeout" and
double exposure work. Pro-
fessional results obtained with
ease by any amateur. $27.50.
FOCUSING PRISM
Ground glass. A certain
method of focusing cine lenses
in place on the camera. $6.00.
PRACTOS EXPOSURE
METER
Combination cine and still
gauge . . . compact, simple.
With case, $5.75.
GRACOPHOT
A combined Exposure and
Distance Meter. A most scien-
tific and highly sensitive me-
ter. In leather case $12.
Write for literature on the
above; also on our miniature
focal -plane and. reflex cameras.
BURLEIGH BROOKS, Distributors
127 W. 42nd St. New York
THE IDEAL GIFT
Comedies . . . Scenics
Sports Educationals
The comprehensive variety of sub-
jects included in our catalog will
provide you with an unexcelled
list of films suitable for the most
widely differing tastes and ages.
Send for this catalog and
make up your Xmas list $^.50
. . . simply, satisfactorily *
... per ree
and economically.
EMPIRE SAFETY FILM CO., INC.
723 Seventh Ave. New York
t
USE METAL LETTERS
FOR TITLE MAKING
Send for Price List of Capital and Lower Case Letters.
H. W. Knight b Son, Inc., Seneca Falls, N. Y.
The ten best
[Continued from page 538]
cloud and sunset shots, distant and
close shots and side lighting and back-
lighting in profusion. A further, out-
standing triumph in color technique was
shown in Mr. Hansen's recording of the
vivid, glowing hues of the stained glass
windows, taken from the interior of the
cathedral at Chartres. Here, he suc-
ceeded in capturing that peculiar, deep
dyed transparency found only in the
colors of old stained glass. It is ques-
tionable if any other method of repro-
ducing color can give such a real and
beautiful rendition of stained windows
as the motion picture. Certainly no color
printing process can compete. The film
was rounded out by some charming
long shots of the carefully cultivated,
rolling hills of Denmark.
Garden Closeups, by W. T. McCarthy,
ACL, demonstrates its right to be
placed among the ten best films because
of the painstaking care and time ex-
pended in its preparation and because
of the exceptional results achieved. The
film covers a subject which is almost
entirely in miniature, but which, in its
motion picture interpretation, reveals a
whole new world which only the eye of
a discriminating filmer and a nature
lover could catch. Here are excellent
closeups of the common varieties of
garden flower, pictured so skillfully
that the technique used is forgotten and
the actual, living flower seems revealed
on the screen, sometimes swaying gen-
tly in the breeze, sometimes rifled by a
gigantic bumblebee pictured in alarm-
ing closeup. Another sequence will
show the honeycombed intricacies of a
wasp's nest, a time condensation tech-
nique showing its gradual cessation of
activity as the winter comes on. An out-
standing achievement in closeup tech-
nique showed the praying mantis in
the very unprayerful act of devouring
its victim. The film was made almost
entirely with the aid of a telephoto lens
with special extension, which enabled
the patient cameraman to capture his
flower and insect subjects from a mod-
erate distance. Focus and exposure
alike show the result of painstaking
care in Garden Closeups.
The seven reel industrial film made
by Sherman A. MacGregory, ACL, of
the construction of a sewage treatment
plant was placed among the year's ten
best because of its exact and thorough
handling of a difficult subject. For more
than five months Mr. MacGregory
served as construction engineer and
cameraman on a job that progressed
slowly through many stages. But only
by recording in detail all of these stages
could he make the film serve its purpose
efficiently as an office record — with the
result that 4000 feet of 16mm. film were
exposed in the process. In the final,
carefully edited and titled edition, Mr.
MacGregory has achieved and sustained
definite interest, even for the layman, in
a film subject that threatened monotony
at every turn. Unusual and effective
camera positions played a large part
in this as a complement to the exact
production and editing.
Canadian Capers, filmed by Hamilton
H. Jones, ACL, is a superlatively good
vacation picture, complete in every im-
portant detail and containing several
magnificent examples of sequencing.
Among these is a satisfying study of a
railway train. Mr. Jones neglected none
of the cinematiijally interesting views
that are unique to this subject and in-
cluded several, such as scenes inside
the engine cab, that ordinarily could
not be secured. This picture has the
important quality of conveying to the
audience the maker's enthusiasm for the
subjects filmed.
The six reel film, Technical Methods
in Cancer Research, produced by Fran-
cis Carter Wood, jr., ACL, for the
American Journal of Cancer, is the most
distinguished and thoroughgoing scien-
tific picture viewed this year in League
headquarters. In it Mr. Wood, working
in collaboration with his father, editor
of the Journal, has presented in detail
the many processes evolved and used at
Crocker Institute of Columbia Univer-
sity in the treatment and study of can-
cer. Difficult details of clinical analysis
are shown clearly with accurate lighting
aad unfailing definition. Laboratory
bench work on specimen growths is sup-
plemented by microscopic studies of
corresponding cells. One entire reel is
devoted to a unique stop motion study
of leading cancer cells in living motion.
Throughout the film Mr. Wood's cam-
era treatment, editing and titling are
polished and forceful.
Thornwell Orphanage, planned and
made by Willis Osborn, is a film study
of Thornwell Orphanage, showing the
scholastic, industrial and religious
training of the youngsters there and
presenting a subtle argument for its
support. This is a difficult subject be-
cause of the problem of selecting sig-
nificant and coherent action from among
the almost endless possibilities. Most
welfare films are too discursive and too
general in treatment to secure the effect
desired. Mr. Osborn has succeeded in
avoiding this and has produced a film
as coherent and informative as it is well
photographed.
Among the films awarded honorable
mention is The Grand Teton Country,
carrying with it a breadth and sweep of
all outdoors, a Kodacolor film by H.
W. Voss, ACL. This picture is, first
of all, an eloquent and colorful reply to
those who do not believe that long shots
can be taken successfully by this proc-
ess. Time and again, in viewing this
film, one is astonished by the clarity and
MOVIE MAKERS
detail of distant mountains, rearing
their majestic, snow capped heads up
into the cold blue of the sky, while the
foreground is shown in all of its true
colors. Mr. Voss has proved to skeptical
Easterners that Rainbow Falls really
lives up to its name. His Kodacolor
camera, skillfully handled so as to pro-
duce a dark background for the rain-
bow formed by the sun shining on the
spray, reveals perfectly that faint, tenu-
ous beauty which is all the more remem-
bered because evanescent. But solid,
palpable colors are pictured here, too.
Mountains and canyons, lakes that are
mirrors, desert flowers and all the glow-
ing colors that are part of the West, are
arranged on Mr. Voss's film palette.
Especially well considered was his con-
tinued use of the various neutral den-
sity filters in order to give distant shots
their correct value in the brilliant sun
and the inclusion of interesting action
in each scene.
Drifting, a two reel photoplay pro-
duced under the direction of Jack
Navin, ACL, is an old school melodrama,
planned, played and directed to ring
the last harsh change on the "wages of
sin" motif. It is distinguished by con-
sistently dramatic lighting, a smoothly
sequenced filming plan and a definitely
mature understanding of cinematic
treatment. In it a large cast plays well
and with a thorough seriousness that
adds much charm to the original melo-
dramatic conception.
In Little Geezer, running 400 feet,
Theodore Huff, ACL, has produced one
of the most able and amusing burlesque
film stories of the amateur year, repeat-
ing his success of that earlier satiric
classic, Hearts of the West. Again he
has used, with amazing directorial facil-
ity, the neighborhood youngsters as his
only actors. Again he has aped, with his
own peculiar genius, the threadbare
cliches of professional drama, poking
fun in his filming as well as his titling.
Little Geezer offers fine examples of real
cinema, is the sort of thing amateurs
can do as well or better than profes-
sionals and is delightfully amusing in
the process.
Russell Sage Foundation, made by
Theodore Huff, ACL, for the members
of the staff of Russell Sage Foundation
and dedicated to John M. Glenn, retir-
ing General Director, offers an interest-
ing solution of a very difficult cinematic
problem. It was desired to present
glimpses of the work of the various de-
partments of the Foundation, to include
members of the staff of each depart-
ment and to give the highlights of their
achievements under Mr. Glenn's direc-
tion. Although the problem was com-
plex, Mr. Huff succeeded in making a
smooth and entertaining picture full of
cinematic interest.
Articles in Movie Makers have often
advocated experimenting with travel
continuities by selecting a single theme
561
DISCOVERED
^y^f^rap^er/L
*33.00
NEW LOW PRICE
Complete with leather carrying case
and shoulder strap, in the United States
Hundreds of photographers — both com
mercial and amateur — are acclaiming
the new Weston Universal Exposure
Meter. They're buying them. They're
using them. They're discovering what a
big help the Weston Universal Exposure
Meter is to better photography. Saves
them film . . . and even more important,
they get a correctly exposed shot every
time. What a Christmas gift for any
photographer! A year-round present!
What satisfaction it will bring!
Eliminating guess-work, the Weston
Universal Exposure Meter measures*
the brightness reflected by the subject
or scene . . . translates it into the correct
combinations of /. or US stop and
shutter speed for any film or plate speed.
Simple, easy to use, always reliable —
the Weston Universal Exposure Meter is
scientifically designed . . . made by the
world's foremost manufacturers of fine
electrical instruments. It is one of the
greatest aids ever offered to better
photography .
*The famous Weston Photronic Photoelectric
Cells, used in Weston Exposure Meters, trans-
form light directly into electricity.
FEATURES
1. For both cine and stills.
2. For any film or plate.
3. Always ready for use.
4. No adjustments.
5. No batteries.
G. Nothing to wear out or replace.
7. For any reasonable photographic light.
U. Unaffected by temperature, weather or
climate.
9. Not damaged by direct sunlight.
WESTON UNIVERSAL EXPOSURE METER
Made by Weston Electrical Instrument Corp., 626 Frelinghuysen Ave., Newark, N. J.
562
DECEMBER 1932
Announcing
a
title service for the own-
ers of Cine Eight outfits.
These titles will increase
the interest value of your
films many times. They
will preserve those de-
tails of dates and places
which are so soon for-
gotten.
48 hour service.
Price — 2|/2C per word.
Minimum charge per
title— 20c.
Minimum charge per
order— $1.00
Kodascope Editing &
Titling Service, Inc.
350 Madison Ave.
New York, N. Y.
*
■>
A THOUGHTFUL
GIFTI
The recipient will not fail to appreci-
ate the new
NORTHEAST TWIN
A practical and highly efficient unit
designed for indoor movies at home.
He will appreciate the fact that he can
obtain increased illumination with de-
creased operating cost . . . and better
pictures as a result. One lamp in the
reflector provided with this equipment
equals three lamps in home lighting
fixtures.
The Northeast Twin is supplied
with two Photoflood bulbs, tripod,
12" reflector and 14 ft. extension
cord with three way junction block.
COMPLETE $6.00
At All Dealers
NORTHEAST PRODUCTS CO.
Tewksbury Massachusetts
*
I
h
k
and illustrating it with sequences made
in many different countries. The enter-
tainment value of this method is beauti-
fully illustrated by Water, filmed by
B. H. Blood, ACL. This picture is made
up of sequences of water, waterways,
wells and ice in a variety of places in
the world and ends with a sequence in
the home of the maker. Any emphasis
on mechanics which this theme might
seem to entail is entirely obviated by the
dramatically interesting scenes that Mr.
Blood selected to illustrate his idea.
In his one reel film, Girl with a Dress,
Clyde Hammond, ACL, has made an
appealing and remarkably successful
attempt to portray a drama of the spirit
rather than of action. Through long
weeks of bitter economy a girl accumu-
lates enough money for a new dress. It
arrives from the mail order house just
in time for a summer's picnic with her
friends and, happy in prospect, she
wears it proudly. Then, because in it
she is more charming than they, her
friends will not like it, make mocking
fun of her and she leaves them in tears.
Stumbling home, she is caught in a
shower and the dress is ruined. A sim-
ple enough tale, but in its very simplici-
ty and sincerity lie the strength of
downright tragedy. It was planned and
directed with imagination and played,
in its leading role, with definite and sen-
sitive skill.
I'd Be Delighted To!, directed and
photographed by S. Winston Childs, jr.,
ACL, is that kind of production often
planned but seldom made — a film story
told entirely in closeups. Presenting the
simple incident of a dinner a deux in a
gentleman's apartment, the picture runs
through 400 feet of brilliantly chosen,
strikingly filmed, significant closeups.
It is adroit, amusing and sophisticated,
and a splendid example of what, with
skill and care, can be done in this dis-
tinctly advanced amateur filming
method.
Filtering Christmas
[Continued from page 543]
the horizon for the greater part of the
photographic day, there is more danger
of flare when extreme side or front
lightings are used. Most lenses are
equipped with a sunshade to protect
the lens from light sources nearly in
line with the camera, for the direct rays
of the sun should not strike the glass
of the lens. If the addition of filters in-
terferes with the use of the regular sun-
shade, a temporary shield can be made
with dead black paper or thin card-
board and fastened to the lens mount
with a rubber band. The shield can be
either cone or tube shaped, whichever
better suits the equipment being used.
With the camera in position to film the
scene selected, examine the lens care-
fully to see if any direct rays of light
are reaching the front element. If neces-
sary, adjust the shield to protect the
lens from these rays and you will be
reasonably sure of obtaining a scene
without halation.
If snowfall is delayed until later in
the season, file this copy of Movie
Makers away for future reference and
make your Christmas film according to
the regular exposure chart which is fur-
nished with the camera and lens equip-
ment. Special note of the time is sug-
gested, since the winter photographic
day is extremely short. In all of the
above discussions of exposure, the ex-
pression, "normal exposure," refers to
the values given by your camera ex-
posure chart.
Above all, be patient in making a
winter picture. Although research lab-
oratories have furnished you with film
and cameras that can satisfy almost all
photographic conditions, do not expect
the impossible. The cameraman must
choose his equipment and film with
care and select exposures accurately.
All of Christmas
[Continued from page 541]
mother if her infant should lose an arm
or leg, or the wails of little Johnny
when some heavyweight wrecks the
trackage of the Library and Hall R. R.
This can be staged. Fold the real leg
into the dress and work with a leg from
a discarded pet or one bought at the
doll hospital. Talk the child into the
proper acting vein. In the same way
buy a few extra lengths of track and en-
list the heaviest member of the party to
do the wrecking. Get closeups of the
youngster at play. Follow the train
around the track, then the villain ap-
pears and does his dirty work. Show it
in closeup, foot on the track, with an-
other closeup of the boy and a third
of the abashed villain. Restore happi-
ness by producing the new track, then
you can work to the desired happy end-
ing.
Of course the Christmas feast is not
to be neglected. After those earlier
scenes in the kitchen and over the stove,
take a brief length of the table all set
and before the guests come in. Take an-
other with all at table and pick up any
good bits in closeup. Work for angles
to vary the scene. Shoot through the
arched doorway, if there is one, includ-
ing some of the arch. Shoot down from
a stepladder. Make the centerpiece the
foreground for the carving of the tur-
key, work in some stop motion stuff, as
a plate fills miraculously or as it
empties, and a closeup of Willie's plate
of pie both before and after.
The outdoor games can come in for
some attention, the tryout of the new
sled or skates, the debut of a new wrap
or a little snowballing, if there is snow.
In those sections of the South where
MOVIE MAKERS
563
they still regard firecrackers as part of
the celebration, you have material
which will replace the snow effects.
All of these bits are merely sidelights
to the main story. The altar of St.
Nicholas is the hearth, and most of the
production should not wander too far
from the home. The fireplace itself will,
of course, suggest the hanging of the
stockings, with some light comedy
touches. Stage the youngsters hanging
the stockings the night before. Catch
them when they troop in Christmas
morning. You can get a laugh from a
small boy propositioning his stoutest
relative for the loan of her hosiery or get
a smile when the smallest youngster
proudly turns up with an opera length
stocking almost long enough to take
in the tree itself. There is the baby's
tiny sock which grows miraculously
overnight and the small boy who weeps
because there is a hole in the toe of
his collector. And do not forget the
mistletoe. Work for both comedy and
romance. Try to catch the young lovers
under the branch. They will be willing
enough to pose and they won't mind how
long you take. Let grandpa and grand-
ma reenact the scene of their youth.
You might even include the butler and
the maid or Bridget and the iceman,
according to circumstances.
You have a whole houseful of ideas
for the season. And now you have the
convenience of the lights and the surety
of a fast film. Make this a real camera
Christmas. You'll not regret it.
Winter closeups
[Continued from page 542]
ously having a delightful time of it,
with a shot of someone inside a house
hugging the fire. Think of what winter
means in human terms and get scenes
and sequences that dramatically repre-
sent it. After the storm, the telephone re-
pairmen probably will be at work, for
the same snowfall that means delight to
the children and the winter sports con-
verts means trouble or discomfort some-
where else. The traffic policeman is cold
and red in the face, but ladies have
occasion to wear many furs and the
windows of shops will be full of them.
Subjects such as these can be obtained
even if there is no snow and the winter
storm is entirely rain and sleet.
Christmas will form an important
part of the reel interpreting winter.
Scenes of the family Christmas party,
decorating the tree and the children and
their toys can, of course, be included.
The enthusiastic movie maker will add
to these by filming shots of lighted
Christmas store windows, mechanical
toys on display, crowded shopping dis-
tricts and the other manifestations of
the holiday period familiar in country
and city alike.
The beauty of winter is another
Amateur and professional cinematographers
throughout the world are using Zeiss Cine Lenses.
BIOTAR F1.4;TESSARF2.7andF3.5,TELE-TESSAR F6.3
■ FINDERS ■ FILTERS ■ SUN SHADES -
FOR STANDARD and 16 MM. MOVIE CAMERAS
CARL ZEISS INC., 485 Fifth Ave., NewYork. 728 South Hill St., Los Angeles
EasierJBetterEditing
with the rhamstine*
-factual motion as on screen
■^easier viewing with magnified
picture
^continuous running film . . .
no claw acton
-A-no loops . . simplified loading
■^■easier, better splicing
■^reverse action
•^compact, with sturdy, rubber-
cushioned base
■^■portable . . . viewing lamp
plugs in anywhere
Tfc-3-tone, dull silver, chromium
trim and black crackle finish
COMPLETE • $35
Better work in less time and in greater comfort than you ever thought
possible. No mechanical or technical knowledge is necessary for suc-
cessful operation. The splicer is right beside viewing tube. Only $35.
complete including viewing tube, scraper, light bulb and cord, cement
and water bottles. See it at your dealer's or write direct for complete
details. f\ Splicer sold separately with scraper, cement and water
bottles, mounted on a beautifully finished 6% x 5'/2 wooden base for $4.50
J. THOS. RHAMSTINE* 501 E. WOODBRIDGE, DETROIT
564
DECEMBER 1932
SOUND- A -GRAPH
DISC SOUND & SILENT
New
16 mm.
HOME
TALKIE
Astonishing
16mm. projector
wind, 3 switch,
light, etc.
33 1/3 or 78 R
Mechanical Fi
125,00
COMPLETE
In a beautiful
Walnut Highb
Console Cabi
54
net
For PERFECT home talkies, SOUND-A-
GRAPH is the finest instrument at a new
low price! Features and improvements
found in professional equipment. Until fur-
ther notice you can trade in your old silent
projector for liberal allowance. Write for
particulars and illustrated descriptive leaflet.
Dealers: Write or wire for details.
Mogull Brothers
1944 Boston Road, New York
IDTEHS,
predate ftvooKqM and Nigh) €f facts in Tlayhms-
Fv^SnDts- uiffcisriftais and many tflm effects.
Ask: your dealer, or write to
GEORGE H. SCHEIBE
ORIGINATOR OF EFFECT FILTERS
To Get Those Indoor Movies
USE CORCORAN-BROWN
• FLECTORS
For use with PHOTO FLOOD or PHOTO FLASH Lamps
Provides sufficient illumination with two flectors
using Flood Lamps to get night indoor movies
with f/3.S lens. Correctly engineered by men
wno know. Universal swivel joint permits tilt-
ing at any angle. Can be held in hands or_ set
on table top. Reflector removable for easy port-
ability; long cord, plug fits any socket; high
grade material. Price gl.50 each, bulbs extra.
Manufactured by
CORCORAN-BROWN LAMP CO.
Cincinnati, Ohio
Take no substitute. If your dealer does not
handle, write direct
HAILE
16 mm. TITLES
To introduce our quality title service we
offer free titles with accessories as listed.
See advertisements Movie Makers for de-
scription of items.
FLECTORS (1 free art end) Each... $1.50
Craig Jr. Splicers, Each $5.00
(Title credit, $1.00)
Rhamstme Electrophot or Film Editors,
(Title credit with either, $5.00)
Stock Titles, list of several hundred at
15c each. Send 10c, includes free
End title.
Write for fuller details
Wt do 16mm. developing and printing
C HAILE & SONS
Motion Picture Dept.
St. Cincinnati, Ohio.
theme for a picture although, in using
it, one should take care that he avoids
too many entirely still scenes. Some of
the views will of necessity be completely
still. However, action may be intro-
duced into others by any of the devices
already suggested or, perhaps, by
means of a dog or horse.
A Kodacolor picture of snow sub-
jects will capture the beautiful glints
of blue and deep green in ice and snow.
Evergreen trees will be richly green
against the white background and color-
ful skiing costumes will make delight-
ful patterns against the white. Color in
Winter might well be the title of a very
different Kodacolor picture. The fact
that one usually thinks of nature in win-
ter in terms of black and white does
not mean that there are not unusual
color possibilities. A sunset across a
snow covered plain or hill has a pecu-
liar beauty all its own and, if anything,
is more colorful than during summer or
spring. Against the white of fresh snow,
a street scene will reveal many neglect-
ed bits of color worth recording. All of
this suggests something that has prob-
ably not been done hitherto — a Koda-
color film comparing the seasons. If the
idea pleases, start this winter, selecting
appropriate viewpoints and then make
scenes of the same places next spring,
summer and fall.
Lighting the festival
[Continued from page 539]
picture. On the screen, the subject
appears to be holding a candle and
shading it with the hand on the side
towards the lens. The face is illuminat-
ed from below, apparently by the light
of the candle. While it is within the
realms of possibility to illuminate the
face faintly for photographic purposes
by the light of a candle placed very
close and with a combination of half
speed, supersensitive film and a very
fast lens, for more dependable results,
it is better to provide for a well exposed
picture by artificial means. This may
be done by making use of a small incan-
descent bulb and connecting cord, the
bulb being retained in a socket which
is tied or taped to the candlestick.
There are certain old fashioned candle-
sticks of generous proportions which
may be used admirably for this pur-
pose; the connecting wire for the
socket can pass up the sleeve of the
subject or can be otherwise concealed.
The five and ten cent store will yield all
of the electrical parts needed for this
stunt. The best kind of lamp to use is
that known as the "candelabra" base,
which is a miniature screw base smaller
than the usual Edison type. For this,
may be purchased a socket of corre-
spondingly small proportions. The wir-
ing should be done carefully by one who
knows how. The small, candelabra
lamps burn at a wattage on the order
of ten to fifteen and will give enough
light to produce the effect, if super-
sensitive film and a fast lens are used.
An excellent way to handle this stunt,
if the materials are available, would be
to make use of a six volt, auto head-
light lamp for the purpose. This, of
course, must be burned from dry cells
and not from the 110 volt house lighting
current.
This suggestion brings us to a funda-
mental principle: In all cases where
the source of light itself is in the picture
field, it should be shielded. With this
principle well in mind, the amateur
need not hesitate to plan lighting ef-
fects obtained by including the source
of light in the picture. Both striking
and original results may be obtained by
a little experimentation. The two young
Fire light, candle light
and silhouettes are among
Christmas lighting effects
2IS Walnut St
MOVIE MAKERS
565
ladies of the household may display
their Christmas jewelry, seated, one on
each side of a small table, in front of a
blank, white wall. The only illumina-
tion for the scene may be provided by
a table lamp with a translucent shade,
placed in the center of the table be-
tween the two girls. A Photoflood bulb
is substituted for the ordinary bulb in
the table lamp. Of course, the lamp
will appear brightly illuminated in the
picture; the wall back of the lamp will
also be illuminated and the young la-
dies, chatting and absent mindedly (?)
fingering their necklaces, will appear in
silhouette. If the wall is consistently
smooth and white, a stop of //5.6 will
get this picture with superspeed film,
and one of //3.5 with ordinary film.
Closeups of the children playing
with their toys are always good for an
indoor Christmas record. An original
slant can be given these pictures by the
inclusion of closeups of the toys them-
selves, recording the funny motions of
the spring driven ones before they get
broken. In making extreme closeups,
remember that a focusing lens is an
absolute necessity and that the lens
must be opened one or one and one half
stops over normal. Hence, for all prac-
tical purposes, it would be best to use
the widest stop of your lens for close-
ups of the toys in action. In addition,
since the depth of focus is shallow in
closeups, it is wise to focus very care-
fully. The finder does not indicate the
absolute limits of the scene in near
closeups, so a slight compensation must
be made up or down, or to the right or
left, as the case may be. (A full discus-
sion of this finder correction may be had
from the League's Technical Depart-
ment as service to members.) It is very
interesting to try, in miniature, the
same kind of lighting effects on toy
images that one might use in life size
scenes.
In this discussion have been em-
bodied only a few stunts and hints. In
special lighting effects like these, how-
ever, lies a whole world of fascinating
experiments and an outlet for the
imagination that works along original
lines. By all means, try it!
Using still cameras
[Continued from page 544]
Certain small cameras may be adapt-
ed to take film packs. The advantage of
such cameras is in the fact that it is
not necessary to expose all of the pack
before an exposure can be developed.
The majority of film pack cameras al-
low the use of cut films and glass plates.
These may be obtained in a wide va-
riety of speeds and of all types of color
sensitivity. The use of high speed emul-
sions will permit short exposures under
adverse light conditions.
Perhaps the cine photographer with-
Christmas Specials
for December only
$97
ALLOWANCE
on your 200 or 250
watt B & H Projector
(any model) in ex-
change for new Filmo
Model ML. with 400
watt, 100 volt lamp,
variable resistance and
volt meter. Provides
powerful illumination
— brilliant, clear pro-
jection. $197.00. Pay
$100 difference and get
the new projector.
Deferred payments over
6 months or 1 year if
desired.
Kodaks or Graflex
Cameras also accepted
in trade for any iriovie
equipment. Highest al-
lowance. Describe your
wants.
NEW FILMO MODEL JL
An exceptional allowance is made this
month on your B & H GJ or GG Pro-
jector in exchange for the B & H all
geared JL $298 Projector.
20
FEATURES
RENTED FREE
With every purchase of
a new projector or out-
fit made this month, we
will present our clients
with a ticket entitling
them to the free rental
of 20 400 foot reels.
A wide diversity of
cameras, projectors,
lenses and accessories
includes items suited to
the amateur's every re-
quirement. Avail your-
self of a friendly, per-
sonal service by dealing
with Columbus Photo
Supply.
Other exchanges
will be accepted at
exceptionally liber-
al trade-in offers.
OLUfTIBUS PHOTO SUPPLY
146 Columbus five. n.V.C.
KIN-O - LUX
SAFETY FILM
As a factor in producing good film at a low price,
we feel that we are entitled to the liberty of sug-
gesting— the selection of Kin-O-Lux to those con-
templating the purchase of Film for Gift Purposes.
Its inexpensiveness will appeal to the giver and its
quality to the recipient. To users of Kin-O-Lux and
to movie makers everywhere, we extend sincere
wishes for A Merry Christmas.
PRICES INCLUDE PROCESSING AND SCRATCH-
PROOFING BY THE TEITEL METHOD
50 Feet $2.00
50 Feet 2.50
No. 1. 100 Feet $3.00
No. 2. 100 Feet 3.50
If you cannot obtain Kin-O-Lux from your dealer
send us his name and the required amount.
CHICAGO OFFICE: 806 WABASH AVE.
KINO LUX INC. IO5W.40T7T. NEWyOfcK.
556
DECEMBER 1932
GOERZ
CINE LENSES
and Accessories
Make Ideal Gifts
The outstanding optical precision
and reputation of Goerz Lenses
coupled with recent price reduc-
tions and the absorption of Sales
Tax render this series ideal for
Gift purposes. It is suggested that
you send for a booklet describing
these lenses in detail.
Goerz Cinematic accessories such as the
Effect and Title Device, Variable Field
View Finder and Reflex Focuser — are
cleverly constructed devices facilitating
the obtaining of professional effects in
16mm. movies and aiding the achievement
of more perfect pictures. Literature on
request.
C. P. Goerz American Optical Co.
317 East 34th Street
New York
HOLIDAY MOVIE BARGAINS!
New 1 6mm. movie cameras, projectors. Alms, and acces-
sories, at SENSATIONALLY LOW PRICES! Write or
wire TODAY for latest bargain lists and literature
describing— VICTOR— BELL &. HOWELL— EASTMAN
— KEYSTONE— MOVIE M AK ER— PEKOSCOPE . . .
and other reliable movie equipment. We carry equip,
ment for every purse and purpose.
D. F. ELDER & COMPANY
15 Marlborough Street, Dept. MM-I
CHELSEA. MASS., U. S. A.
Uhler 16mm. Step Printer
FOR THE
Amateur or Professional
i *
Motor Driven
400 ft. Capacity
12 Light Changes
Friction Take-Up
A Guaranteed Printer
at a Low Price
Write for Descriptive Literature
LOUIS S. UHLER
3422 Howard St.
Detroit, Mich.
Rent or Exchande /6mm //'lent Film
JOSEPH NAVILIO
• 1757 BROADWAY BROOKLYN, N.Y.
WONDERFUL M8.«»
^- — ^^^— Value for
XMAS GIFT $9.50
—— - -^^— ^— Prepaid
One dozen Hayden 400 foot reels and
humidors. Regular price, $18.00.
Factory to you. New Coods
No charge or C. O. D.
A. C. HAYDEN CO.
BROCKTON, MASS.
out experience in still photography will
find the outline given above somewhat
confusing. To simplify matters for
those who would like to try the combi-
nation of a still camera with their cine,
we would suggest that a small vest
pocket camera be used initially, as this
is very compact and the cost is low.
After using this small camera, the
cinematographer can discover to his
own satisfaction the advantage of a still
camera in connection with his filming
and can decide whether a camera of an-
other size or type would reveal greater
possibilities.
Perhaps, at first, the suggestion on
the use of a still camera will not find
much favor with the cinematographer,
as he will naturally think that one pho-
tographic machine is sufficient. Yet
there is a place for the still camera in
cine work; it does not supplant the
movie equipment but, rather, it is a com-
plement to it.
The fine art of titlin
[Continued from page 552]
g
such transitions are: Childhood glided
into youth, The bloom turned to ripen-
ing fruit, The city forgotten, Doris
found new interests on the ranch.
Sometimes, suggestive pauses may take
the place of verbs: And then the farm
. . . rest . . . forgetfulness . . . sim-
ple folk. These syncopated forms leave
the reader free to supply his own links,
to cooperate in the plot — always a dis-
tinct advantage.
Again, parallelism of construction
makes a transition easier and more ac-
ceptable: From the canyons of Manhat-
tan to the canyons of Colorado. Of equal
strength is what may be called inverse
parallelism, gained through contrast
rather than comparison: Winter's frown
on the North Atlantic gives way to sum-
mer's smile on the Caribbean. But nowa-
days this is even better done by overlap-
ping scenes that have some portion of
composition in common, a tall building
taken in a highly "contrasty" light dis-
solving on the screen into a canyon wall
in a similar light; a lowering storm on
the western ocean melting into the sun
flecked peace of tropic seas. The speed
of the transition will correspond to the
brevity of the time lapse. If years elapse,
the dissolve will be done slowly, if days,
a rapid superimposition of backgrounds,
with or without appropriate words is
used; (Background) Shipboard scenes
. . . Eiffel Tower . . . Canals (Title)
Europe . . . Paris . . . Venice. It is never
necessary to insult the intelligence of
the spectator by showing every inter-
mediate step in scene or in title. But, on
the other hand, it is often wise not to
omit too many transitions, especially
when there is an important time lapse.
Rapid change is often misleading.
More difficult than narrative or de-
scriptive titles, and at least as impor-
Publishers'
The art title background
on page 559 lettered as
sample by Ralph Eno, ACL
tant, are spoken titles. They require far
more care than most amateurs are will-
ing to devote to them and no little
psychology. In the silent days it was
not uncommon in studios to allow the
title writer two or three days, or even
longer, to produce the titles for one
reel — fifteen or twenty spoken titles on
an average. Writing spoken titles is a
novelist's or dramatist's job, to be
tackled with extreme caution by the
amateur. One word out of place may
change the entire complexion of a
scene.
A spoken title may be used to char-
acterize the speaker: "/ know a swell
dame." — "Haven't ive met somewhere
before?" — "/ want a change from gold
diggers." In the scene of a family Sun-
day dinner, a cocksure young man turns
to his neighbor and says, "He called me
a plumber — and me a sanitary engi-
neer!" That is characterization in its
most perfect form.
The spoken title may build up a men-
ace and create suspense: "See you.
later!" (spoken by a detective after a
brief and inconclusive examination I . It
may convey offstage information: "The
bank has closed." In all cases it must be
positively typical of the speaker and of
nobody else. A gangster does not speak
of shooting; a society woman does not
talk of dicks and bulls and slugging
(except to exhibit an incongruous
knowledge of a world other than her
own) ; a child does not mention investi-
gations; a cook does not talk of intro-
spection. The would be title writer will
do well to listen to all sorts and condi-
tions of people and to jot down what
be hears. This rule, however, may de-
liberately be violated for comedy effect.
A character may repeat verbatim, as if
they were his own, the words used pre-
viously by another. The subway guard
on his way to work is pushed back to
the sidewalk by a "cop" who says:
"It's guys like you that make it hard for
guys like us." Five minutes later the
same subway guard, now in uniform, is
pushing back the crowds and picks on
a meek and mild little chap who is not
doing any shoving, saying, "It's guys
MOVIE MAKERS
567
like you that make it hard for guys like
us." The trick never fails to bring a
laugh. It is also particularly effective
in turning the tables on a specious
pleader, especially if the winner is the
wife. Provided the action is at all suit-
able and the lips are moving, any
spoken title can be inserted in the
course of editing. The two quoted above
might not have been thought of at the
time the scenario was written. They oc-
curred to the writer in the course of
editing and may be fitted in easily at
the appropriate places.
The final precaution to take before
printing the titles is to project the reel,
interrupting it (if necessary by stop-
ping the projector) to read aloud the
proposed titles, each at its proper place.
Very, very often the wording on paper
which seemed so appropriate will turn
out in use to be totally unsuitable to
the action. Nobody's memory is to be
trusted for the thousand and one de-
tails that may lead to a misunderstand-
ing in the interpretation of a scene. Title
and action must fit like glove and hand
— by actual trial; and time spent in this
fitting is time well spent.
Book reviews
Trade journal
The Gevaert Sensi-
tizer, an attractive
periodical devoted to the interests of
the photographic business, has recently
been inaugurated by the Gevaert Com-
pany of America, 423 West 55th Street,
New York City, and is available to all
serious photographic workers.
"Amateur Tonfilm"H This is the
title of an
interesting little book describing vari-
ous methods which may be used by the
amateur to make synchronized films,
both 9.5 and 16mm. It is in German
and published by Photokino Verlag
G. M. B. H., Berlin. Its author, Fried-
rich Kuplent, describes the principles
involved in sound synchronization and
gives examples of their application by
specific amateurs, as well as an inter-
esting sample scenario for the purpose.
Many illustrations are provided.
"On Tourne" ■ Described as a
treatise on the ama-
teur cinema, this book of 375 pages
is the latest contribution to amateur
instruction from France. As might be
expected, much of the attention is de-
voted to 9.5mm. film and apparatus
but other widths are well covered and
especial interest attaches to the instruc-
tion given in home processing.
Here's the IDEAL GIFT
1^ ELECT for your friends
who are movie makers — -or for
yourself, if you want to be
really indulgent this year — the
Ace of all gifts — a
for Mow'e ls/lakers
ilimiiL! inn" ■■mm——
SUPER SCREEN
Its perfect projection surface
■ — exactly like that used in the
finest movie palaces every-
where— does wonders in adding
brilliance, sharpness and live-
liness to even the poorer films.
Mechanically the entire line
is ingenious and practical, pro-
viding smooth projection sur-
face, yet folding compactly for
ease in carrying. Look them
over and choose "the perfect
gift." Priced at a dealer's near
you from $3.00 upward.
The DA-LITE
SCREEN CO., Inc.
2721 N. CRAWFORD AVE.
CHICAGO, ILLINOIS
The NEW DA-LITE Model "F"
Compact, moderately-priced new model that
stands conveniently on any table or desk. Rear
support bar holds screen at proper height. Set
up in a moment — folded as quickly into its com-
pact, sturdy metal map-type case with strong
spring roller action to instantly snap screen
into case where it is kept spotless and wrinkle
free.
22x30" $13.50 30x40" $16.00
36x48" $18.00' 39x52!" $22.50
45x60" $30.00 52x72" $40.00
XMAS
SPECIAL
VICTOR
MODEL III
FITTED WITH THE NEW
DALLMEYER ONE INCH f/2.9
LENS IN FOCUSING MOUNT
00
SO
Last Call!
ONLY A FEW LEFT !
MODEL 3G VICTOR PROJECTOR
AT THIS SPECIAL LOW PRICE
f9375
HERBERT & HIJESGEN CO.
18 EAST 42nd STREET NEW YORK CITY
568
Mr* Henpeck models
HOWARD DESMOND
DECEMBER 1932
Scene 1. Medium shot. An attic or old
room; a large old fashioned trunk or
bureau. Mrs. Henpeck is kneeling by
the trunk or by a very full drawer on
the floor, picking out one ancient gar-
ment after another.
Scene 2. Closeup. Mrs. H. is holding
some antique waist with leg of mutton
sleeves or other garment. She is study-
ing it speculatively.
Scene 3. Medium shot. (Different
angle from Scene 1.) She continues
selection, indicating with her gestures
that she intends to cut these garments
in a new fashion.
Scene 4. Medium shot. The kitchen.
Mr. Henpeck, wearing an apron, is
washing dishes. He is smoking a pipe
as he wipes them and is looking very
disgusted.
Scene 5. Medium shot. Room as in
Scene 1. Mrs. H. picks up a waist, a
huge long skirt, an old hat, a shawl, etc.
Gets up heavily and walks out of the
room.
Scene 6. Medium shot. Kitchen as be-
fore. Mr. H., still washing dishes, hears
a voice, turns around, a look of horror
on his face.
Scene 7. Closeup. Mrs. H. in the
kitchen doorway, old clothes on her
arms, indicating with her right hand
that she wants him to come.
Scene 8. Medium shot. Dining room.
Mr. H., still smoking, enters the room
taking off his apron. Mrs. H. follows
with the old clothes. She speaks:
Title 1. "I want you to fit these on
for me."
Scene 8. Continued. Mrs. H. finishes
speaking and starts to walk toward
him.
Scene 9. Closeup. Mr. H., who looks
more disgusted than ever.
Scene 10. Medium shot. Same as
Scene 8. Mr. H. refuses, tries to walk
away. Mrs. H. grabs him by the collar
and orders him to stay there. He re-
signs himself to his fate.
Scene 11. Semicloseup. Mr. H. only.
As he stands rigidly still, staring with
rage and disgust, a hand appears and
gives him a large waist to put on. He
does. Then the hand sticks a hat on his
head. (He still smokes his pipe.)
Scene 12. Medium shot. Both Mrs.
and Mr. H. in the scene. Mrs. H. hands
him a skirt, which he reluctantly steps
into. He now looks like a woman, but
still has a pipe in his mouth. Mrs. H.
continues to put other articles of femi-
nine apparel on him. (Ad lib.) Then
they both pause suddenly, turn their
heads to the door and listen. They hesi-
tate a minute. He wants to run away,
but she gestures for him to stay. He
lays his pipe down. She goes out of the
scene in the direction of the front door.
(Not seen in this shot.)
Scene 13. Semicloseup. Front door,
from inside. Mrs. H. arrives and opens
the door. Standing on the porch are
two ladies, one quite young and attrac-
tive.
Scene 14. Semicloseup. Shows the
two ladies. Older one speaks:
Title 2. "We are your new neighbors.
We've come to call."
Scene 14. Continued. The lady fin-
ishes speaking and smiles pleasantly.
Scene 15. Closeup. Mrs. H. She hears
and is at first annoyed. Then she pre-
tends to be very affable. She invites
them to come in.
Scene 16. Closeup. Mr. H. as he sees
them coming in. He puts his pipe on a
table just behind him and stands root-
ed to the ground.
Scene 17. Medium shot. The living
room. The neighbors enter with Mrs.
H. They seat themselves, the younger
on a couch or divan. Mrs. H. calls out
toward the dining room.
Scene 18. Semicloseup. The door of
the living room. Mr. H., staggered,
walks as in a daze toward the ladies.
Scene 19. Medium shot. Mr. H. walks
into the scene with the others. He looks
An all interior, six minute
scenario that requires but
four actors and few props
sheepish and Mrs. H. presents him say-
ing:
Title 3. "This is my mother!"
Scene 19. Continued. Mrs. H. finishes
the introduction and smiles graciously.
Scene 20. Semicloseup. Mr. H., who
can hardly believe his ears. He resigns
himself to playing the part. Bows.
Scene 21. Medium shot. Mr. H. seats
himself on the couch, quite close to the
younger lady.
Scene 22. Semicloseup. Mrs. H. and
the other lady. Mrs. H. looks alarmed,
but her attention is distracted by the
other lady and she turns her head to
answer her.
Scene 23. Medium shot. The couch.
Mr. H., playing the part of an old lady,
sits very close to the young lady, makes
great friends with her, patting her
hands, stroking her hair. He is very
affectionate and maternal.
Scene 24. Semicloseup. Mrs. H. talk-
ing to the other lady; she pauses and
looks in the direction of Mr. H., notic-
ing his marked attentions to the young
'Close your eyes, Mortimer! We're not speaking to her now:
MOVIE MAKERS
lady. Mrs. H. gets hot under the collar.
Scene 25. Semicloseup. The couch.
Mr. H. is still acting the affectionate
old lady and the young lady is recipro-
cating. (Cut back and forth from Mr.
H. and the girl to Mrs. H. and the other
lady ad lib. In each successive scene,
Mr. H.'s attentions would grow more
marked and Mrs. H. would about reach
the explosion point.)
Scene 26. Semicloseup. Mr. H. who
wants to sneeze. Embarrassed; holds
back; feels for his handkerchief; looks
out of the corner of his eye to see
if anyone is watching him; lifts his
skirt. (On the side away from the girl.)
Scene 27. Closeup. Mrs. H. She fair-
ly screams:
Title 4. "Mother, I think it is your
bed time."
Scene 27. Continued. Mrs. H. finishes
speaking.
Scene 28. Medium shot. The couch.
Mr. H. is stunned and forgets his
sneeze. He graciously agrees and wipes
his mouth on his sleeve. He takes a very
affectionate leave of the lady, giving
her a warm kiss or two.
Scene 29. Closeup. Mrs. H., enraged.
Scene 30. Medium shot. Includes the
whole room or the part of it where
the four actors are seated. Mr. H. gets
up very dignifiedly, bows to the other
lady, gives a furious glance at Mrs. H.
He smiles at the young lady, patting
her head and then turns to leave the
room grandly. He does not notice that
a corner of his dress has been caught
in a crevice of the couch. As he stands
up the dress is stretched out. As he
walks away, the skirt, evidently merely
pinned on, rolls off exposing Mr. H. in
a pair of trousers. He does not notice
and pauses very dignifiedly for a last
sweet goodbye.
Scene 31. Medium shot. The women
from Mr. H.'s position. Mrs. H. is
aghast. The other two ladies are
amazed.
Scene 32. Medium shot. Same as 30.
Mr. H., unaware of the accident, is
smiling sweetly when he looks down
and sees that the skirt is no longer
around him. He looks up, frightened,
looks down again and then flees out of
the room.
Scene 33. Medium shot. The living
room. Mrs. H. is trying to explain, but
the two ladies are very coldly taking
their leave, their noses in the air. They
go. Mrs. H. looks around wildly and
picks up a large vase and stalks out.
Please edit!
[Continued from page 548]
which someone else has done, he is lost.
It is like trying to dress as certain
accomplished persons dress, trying to
read what certain accomplished dilet-
tantes read or trying to see in pictures
what certain accomplished art critics
569
TWO OLD FRIENDS
PRESENT
A NEW PRODUCT
A fine grain, 16mm. reversal film priced at
$3.50 per 1 00 foot roll including Processing.
Made by Du-
p o nt, Mono
Film is a semi-
chromatic
emulsion with
excellent con-
trast, sati s-
factory latitude,
and a s p e e.d
comparable to
that of the well
known ortho-
chromatic film.
Distribution for
the present is
limited to 100
dealers within a
night's ride of
New York.
Homer Hilton
Orton Hicks
MONO FILM COMPANY
Five Hundred Fifth Avenue
NEW YORK CITY
or
CHRISTMAS
NOW ... You Pay
No More for the BEST
A Complete New Line of
Low Priced Filmo Projectors
300.
lan,p
fhm0
to
>-erSe" clutch° ' r°'t
■ re-
$150
'.00
FILMO M-6
Single control model,
recommended tor
school classroom use.
$135.00
**
U>l»a
Dry Scraper for B & H
Splicer. Simplifying' and
speeding: up 16mm. film
splicing", this new B & H
Dry Scraper permits you
to remove emulsion from
the splicing- surface with'
out use of water. $2.75
, ioo ILtoo *,.
FILMO M-7
"o-wt. ioo.volt
lamp. flxed resisUnce
dutch, reverse
$164.50
Gillette Sound Library
for Filmophone and other
sound - on - disc equipment.
Largest and most com-
plete sound-on-disc library
in the country. Write for
free list of subjects.
Gillette Camera Stores
Park Ave. (ar41stSt.) New York
"The
Home Movie
Corner"
Phone
CAIedonia 5-7425
570
DECEMBER 1932
Professionalize Yoor Films
with
ART TITLES
40 Smart Styles not
Available Elsewhere
40 beautiful borders to
I suit 40 different occa-
sions— yet all done in
. the same technique to
preserve uniformity in
1 your films. Borders for
winter scenes, child films, weddings, tropics, etc.
Use any or all without extra charge. Sharp, clear
letters, perfect alignment and quality guaranteed.
8 words or less 25c per title. Extra words 3c each.
Min. order $1 postpaid. Write for illustrated litera-
ture showing borders. Send today.
ART TITLE GUILDE
5519 Broadway
Chicago, U. S. A.
To Movie Makers — one
and all — from Joe Mag-
gio who takes this op-
portunity to thank his
many clients for their
unswerving loyalty. He
hopes this loyalty is
deserved and shall al-
ways endeavor to give
that personal service so
vital in this field.
LDMA
Camera Service
302W.34TKSt.
M Y C
Do your own processing
with a Phillips processing rack.
Price of rack includes 11" x 14"
tray and full instructions. Can
also supply 16 mm. positive and
"pan" negative stock.
PHILLIPS LABORATORY
653 Hillcrest Ave., Westfield, N.J.
DEPICTING THE
LIFE OF CHRIST
THIS CROWNING ACHIEVEMENT
IS MORE ELABORATE THAN THE
OBERAMMERGAU stage play-
RELIGIOUS -INSPIRING - EDUCATIONAL
5 REELS -2000 FT. - 16 MAV
(COMPLETE STORy ) Price (H50.00
BUY OR RENT FROM DEALER OR DIRECT FROM
cmimizEEraBBa
mm REDUCTIONS
From 16mm. and 9.5mm.
fi
Special Motion Picture Printing
^^M 722B N. CLARK STREET. CHICAGO
^^ REDUCTIONS FROM
35mm. — 28mm. — 17.5mm. to 4 ,rn ,
9.5mm. enlarged to 10/ HI
MAKE MORE MONEY IN
As a pastime or money making
business, photography never falls.
Learn quickly now in the privacy of
your own home at low cost. Same
practical, understandable training,
given by same expert professional
operators and instructors who handle
personal attendance coaching in our completely
equipped training studios. Only home-study train-
ing offering this advantage. Full or spare time. You
may earn while learning. FREE placement servico
when qualified.
Large Booklet — No Cost — Send for It
NEW YORK INSTITUTE OF PHOTOGRAPHY
Dept. 105M 10 W. 33rd Street, New York
say that they see. No one ever gets away
with it permanently. Sooner or later, the
dreadful truth comes out. It is all right
to filch fundamental ideas and to color
them with our own originality. That
kind of copying should be encouraged.
But it must he done boldly with an in-
sistence that the idea and not the man-
ner shall be copied.
I believe that the greatest thing that
could happen to amateur cinematography
would be first, for someone to invent a
source of ideas for titles and second, to
discover a way to compel editing. I am
willing to wager a certain scratched
lens which I possess that, if good title
wordings were easily written, a whole
lot of us who do not now title our films
would be glad to reform.
The mechanical work in both editing
and titling is a delightful diversion. Al-
though some of us do not take to me-
chanical work, it is well worth trying
and all one has to do is to overcome the
mental hazard that stands in the way.
If this can be overcome, a new world
will be opened, bringing with it the
command of a new accomplishment
which will divert one's mind from
troubles and will disclose a new outlook
on life. I believe in lots of editing.
Editor s note: The Amateur Cinema
League does its best to answer the prob-
lem of a source of ideas for title word-
ings, which Dr. Kinema brings up.
Members may send in their films with
a list of tentative wordings for titles.
The League's Continuity Consultant will
make suggestions for members' consid-
eration. These suggestions have the ad-
vantage of being based on a fresh view-
point.
The clinic
[Continued from page 540]
too well. That is, it becomes easy to
allow one or two fingers to obstruct the
lens partially or wholly, thus losing
some of the picture. A little attention
to this detail of allowing the lens a
complete view of the scene will prevent
such a mishap from spoiling what may
prove to be a personally valuable scene.
- — Kenneth F. Space.
Title Stunt ■ After selecting the
size of type or letter-
ing that you intend to use in your title,
cut the letters out from paper which
has the stiffness of ordinary letter pa-
per, making them about one quarter
inch higher than the height intended
for the final title. The tops and bot-
toms of these letters are now pasted on
a plain sheet of thin letter paper in such
a way that the middle portions of each
letter will bow out, away from the back-
ground. After the title, preferably short,
is composed in this way, it is held ver-
tically in front of the camera with the
letters away from the lens. It is illumi-
nated from the rear by a fairly strong,
single light source, placed about two
feet away. This light source should be
movable in a plane parallel to that of
the title. Now, when the light is moved
sideways it will be seen that the shad-
ows of the letters, which stand out from
the paper at the back, will change as
the light is moved and will give an
amusing, bulgy effect which will sug-
gest other modifications for further ex-
periment. It would be well to hold such
a translucent title in a rather large,
opaque shield, so as to prevent direct
light from the source from reaching the
lens. Of course, the letters must be
pasted up backwards with respect to
the side of the title toward the light;
this will present no difficulty as the
letters are already cut out. — Carl L.
Oswald, ACL.
Asked and answered ■ Question-.
Is there
any danger of the film freezing in the
camera on a very cold winter day?
Answer: Theoretically, the emulsion
The chicken and the egg
cut from paper make an
effective animation subject
Alexander Stuler
mm
MOVIE MAKERS
571
contains a certain amount of moisture
and will freeze if the temperature is
continuously low enough. Practically,
this would seldom occur in temperate
climates. In the far north, however, it
has occurred with the result that the
emulsion has chipped off in flakes.
Cine gifts
Following the visit of
Santa (who will be
cinematically minded this year) the
movie maker will find gadgets and
whatnots under the spreading fir, per-
haps a camera or a new projector. In
any case, it will be something requir-
ing a new technique. Instruction books
are sadly neglected, as a rule, although
sorely needed. Those who make various
products know how they should be used
and tell you how in the manual accom-
panying them. A short time spent in
reading the directions and familiarizing
oneself with the principal parts is a
very wise investment. Learn to thread
the camera without looking at it. It may
save precious footage sometime if you
are caught with a jammed film, for you
can use any dark place for rethreading.
Learn what each feature of your pro-
jector is and how it may improve the
presentation of your films. When the
family gathers for the first showing, be
sure that you don't keep them waiting
while you thread the machine. Splicers
are simple to operate but there are cer-
tain definite rules to follow. Once
learned they become automatic. Learn
how the new filters are fitted to the lens.
Be sure that you understand the use
of telephoto lenses on a turret and how
to use your focusing alignment gauge
with the focus on film device. Learn to
handle film spools so that they will not
partly unwind during loading and fog
the first part of the film. Countless pre-
cautions may be given but careful at-
tention to the makers' directions is the
best policy. Don't forget that your deal-
er is anxious for you to get satisfaction
from your equipment. If you don't
understand it, ask him to show you. —
Frederick G. Beach, ACL.
Something from nothing
[Continued from page 554]
indicate that they may have stopped in
a speakeasy before lunch.
Then, if you find a preponderance of
pictures of your children, you might
break them up into several reels, one of
which might be the history of the
child, showing him in all sorts of occu-
pations at all sorts of times, the shots
following each other chronologically or
from babyhood up. Other shots of the
children might be worked into a sort of
humorous home newsreel with titles
such as Big butter and egg man unloads
his wares, to be followed by Johnny
gathering eggs at a summer farm, finally
dropping several on the porch — but at
any rate, you get the general idea.
Now, if you still have quite a few
identification strips left and are getting
tired of the game, why not spring it on
the gang some night when they come
over to play bridge. You have probably
played similar games at Salmagundi
parties. Give each member of the party
ten minutes in which to arrange these
labeled strips of paper into some order
to suggest either a humorous, serious
or artistic story, then present the prize
to the arrangement receiving the great-
est number of votes. You may get sur-
prising results.
Now that you have your various film
stories composed by virtue of neat bun-
dles of paper strips bound together with
elastic bands, it is time to sit down and
splice the separate shots together. Take
the first story, dig into the tin can and
match up shots with index strips, splic-
ing as you go. When you have finished,
run the thing through on the projector,
shorten scenes that seem too long and
make titling notes. Your titles, of
course, may be dramatic, coy or humor-
ous, as the picture suggests. Now it is
merely a question of photographing
your titles, or having them made up if
you prefer, splicing them in place and
adding your ACL leader. Thus finished,
the resulting picture is one that you
can show and is, in truth, something out
of nothing.
The titles you make
[Continued from page 547]
able photograph is chosen. It should be
a fairly dark subject so that the white
letters will stand out. The direct posi-
tive method just described will not work
with a photographic background, but
one does not have to be much of an
amateur photographer to encompass
this difficulty. Choose a scene suitable
for background use from a motion pic-
ture film. Place the film in the projec-
tor and focus the scene, as a still, on a
sheet of paper the size of the required
title. When all is set, switch off the
lights and substitute a piece of photo-
graphic enlarging paper for the piece
on which the image was focused. Expose
the still on this for a split second. When
developed, the photographic paper will
bear a negative photographic image
suitable for background use with posi-
tive film.
The method of using a long, moving
strip of paper when long titles are
necessary is generally understood. Like
the medieval parchment scroll, line
after line can be brought into view,
moving the strip upward from below.
A continuous line of sentences running
across the screen from right to left also
could be managed very easily. It would
give much the same effect as the well
GIFT SUGGESTIONS
COME AND SEE THE
BELL & HOWELL
OFFERINGS
Filmador J
Dry Scraper /
Editor /
Extra Brite
Screen </
Cooke Lenses */
Filmo 75 </
Filmo70-Av/
Filmo 70-D^
Filmo
M &J L
Projectors «/
<R5
bSor*
1905
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
THE NEW
Cine -Kodak
"8"
//l -9
The Fast
8 mm. camera
SEE IT AT
oris
Est.
1 905
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
LET US SHOW YOU
THE NEW
WESTON
UNIVERSAL EXPOSURE METER
AT A NEW PRICE
Phone
Circle
7-0070
m
33
bSon*
Est.
1905
1373 SIXTH AVENUE
NEW YORK CITY
at 56th Street
572
DECEMBER 1932
NEW
Light for Indoor Movies
Complete with Reflector and Stand
$^ This new reflector fits either
^ the 400 T bulb or the new
*J 64 volt bulb and gives
equivalent light from either.
Takes any T type bulb up
to 500 w. Just the light for
portraiture or indoor movies.
Reflector and stand sell
regularly for $11.50. Our
price only $5.00 while the
supply lasts. 64 volt bulb 40c
each. 400 T bulb $2.75 each.
Ask for Bargain Book
CENTRAL CAMERA CO.
230 S. Wabash Ave. Dept. MM-12F
Chicago, III.
AMATEURS
LABORATORIES
Print Your Films
and Titles
with the new
ARRI 16
STEP-PRINTER
Perfect Contact
Reliable
Low price including motor
for literature write to
FRITZ REICHEL, 3915 W. 3rd St.
Hollywood, Calif.
Kent or txchande /6mm found Film
Sound-on-Disc Rental Library: 6 to 9 reel
features available. Cartoons, Comedies,
Sports, Travelogues, Adventure, Educa-
tional and Features. Send 25c for catalog.
Exchange Rates: $3.50 per reel with disc.
JOSEPH NAVI LI O
1757 BROADWAY BROOKLYN, N.Y.
JUST OUT!
$AVE-U-HALF TITLE SERVICE
Have your titles made up in our 100 ft. units and
save over half. 100 ft. of film will make 250 words
of title of any design and the cost is but $3.90 in-
cluding film; postpaid. Request our pamphlet and
samples of work.
NOVEL CINE TITLES
528 Franklin Avenue Council Bluffs, Iowa
HOLIDAY MOVIE VALUES!-!
Eastman, B & H 400' Aluminum Heels 38c I
Humidors 45c Cement 20c i
Cine-Kodak Model "K" //1.9 & Case $115
NEW VICTOR 10 FH Projector COMPLETE. $142 '
KODACOLOR FILTERS and LENSES '/3 OFF >
(For B & H and Kodak Projectors & Cameras)
MOGULL CRYSTAL BEADED SCREEN (in en
39 x 52 Spring Roller in metal case... wlt.OU
30 x 40 White Beaded, on Roller $4.86'
EVERYTHING IN PATHEX 9'/i mm.
WHOLESALE PRICES
ONE OF
AMERICA'S LARGEST
SOUND and SILENT LIBRARIES
Largest selection of Features, Come-
dies, Cartoons, Sports, etc. No charge,
while film is in transit!
NEW, LOW 3 DAY
RENTAL RATES
400' subject 50c'
4, 5, 6, 7 reel feature. .Complete $1.50'
(Double above rates for full week.)
Sound-Disc for 400'.. per week.. $2.50 '
CPPP Library membership — no red tape.
■ 'M-C New film list upon request.
ALSO NEW BARGAIN LIST!
g Mogull Bros., 1944 Boston Rd., N.Y. G. |
W88H8&
known electric signs on Broadway.
Don't overwork the idea, though.
Another way of making a continuous
title of limited length is to wrap the let-
tered strip around a cylinder (such as
a coffee can) pivoted horizontally. Fo-
cus on the words nearest to the camera
and slowly revolve the cylinder so that
the lines of the title appear at the bot-
tom, swing into focus at the center and
then move away from the lens again as
the cylinder revolves.
Many of the foreign language films
now appearing in the big cities include
titles at the bottom of the scene as the
action proceeds. In this case, the idea
is to interpret the foreign dialog. This
would appear to be a splendid method
of subtitling some types of silent films.
Unfortunately, it is easily available only
to those amateurs who use the negative
positive system and do their own print-
ing. The title is photographed on a sep-
arate strip of film on which it must ap-
pear as black lettering on a perfectly
clear field. By passing the title strip
through the printer together with the
negative, a composite print is obtained
with the title appearing where desired
in white letters.
A League Director has produced a
similar effect by rewinding his film in
the dark room and photographing the
captions on the scenes as the film passes
through the camera a second time.
Careful checking up on the footage
meter is necessary to do this success-
fully.
Those who like to work out "stunt"
titles to amuse themselves have been
well catered to in past issues of Movie
Makers. A very effective and easily
handled series of tricks is based on the
idea of an inverted camera, or title,
and the destruction of the title while it
is being photographed. When the film
is projected the proper way round, the
action is reversed and we see a title ap-
pearing from chaos. Examples coming
to mind are words appearing from
flame, grains of rice or sand gathering
up into word formations and a hand
holding a pen which writes backwards
over a complete title, erasing it letter by
letter as it moves.
And now a final word to the amateur
who is making his own title board.
Remember that the viewfinder is not an
accurate guide for centering the image
in extreme closeups, such as titles. Once
and for all, determine the limits of your
picture on the board by glueing to it a
sheet of paper ruled off in half inch
squares conspicuously numbered. With
a fixed position for the camera and a
fixed position for the squared paper,
run off a test strip, photographing the
squared paper. Examination of the
image on this test will reveal the limits
of the title, exactly.
In doing this work use plenty of light,
so that the lens can be well stopped
down for extreme sharpness of image.
Make test strips and keep a written
record of the lights used and their plac-
ing, together with the diaphragm open-
ing used, so that once the best results
are obtained it will be possible to repeat
them at will.
FREE FILMS
These films, on 16, un-
less 35mm. is specified,
are loaned free except for ■payment of ■postage.
Requests should be addressed to the Amateur
Cinema League, Inc., 105 IV. 40th St., N. Y. C.
and films desired mentioned by titles. Re-
quests on receipt, are forwarded to distributors
who get in touch with applicants and ?nake book-
ing arrangements. Specific dates cannot be
promised until the applicant hears from the dis-
tributor. Do not send postage with requests;
when it is required, the distributor will notify
the applicant. Of course, films should be returned
postpaid. Some films are limited to groups, in
which cases it is so stated in the reviews. In
applying for films limited to groups, the type
and probable size of the audience must be men-
tioned. Films are not available outside of the
United Stales, unless so stated. A?iy amateur may
apply for films reviewed as this service is not
limited to Amateur Cinema League members.
■ The Sugar Trail, one reel, 16mm. and
35mm., reviewed through the courtesy
of the General Electric Company, illus-
trates harvesting and manufacturing
processes employed in the sugar indus-
try. Part of this film is devoted to ani-
mated statistics showing the extent of
the world's consumption of this neces-
sary product. This film is available for
group screening only.
■ From the Car Window, one reel,
16mm. and 35mm., produced by Ray-
Bell Films, Inc., depicts the scenes
along the line of the Great Northern
Railway from Chicago to Seattle and
Portland. Various scenes of the Glacier
National Park are also included in this
interesting film. Screening is limited to
groups.
■ The U. S. S. Akron, two reels, 16mm.
and 35mm., reviewed through the cour-
tesy of the Goodyear Tire and Rubber
Company, is a pictorial study of the con-
struction of the largest airship in the
world. To complement the building ac-
tivities are scenes of Mrs. Hoover at
the christening, of Commander Rosen-
dahl with his men as well as shots of
the interior of the Queen of the Skies.
Photoplay guides
[Continued from page 555]
lapse title are preferable. Frequently a
lapse in time may be indicated by one
of many various effects, such as a fade-
out and fadein, or the well known close-
ups of clocks or calendars. A milk
bottle on a back porch takes the place
of Came the dawn and a good scene of
the setting sun will be better than At
last the long day ended. Use as few
titles as possible. The true test of a good
film story is its clarity and comes when
the untitled picture is shown to a
strange audience. If the plot may be
followed without any explanation, then
the continuity is adequately smooth and
the story not too complicated.
MOVIE MAKERS
573
It is important to establish promptly
the interrelationship of characters.
Who is this man and what has he got
to do with the story? Is he villainous
or heroic? Does the girl care for him?
Do not, as one amateur did, introduce
the hero in the middle of the story and
have him marry the heroine after ignor-
ing her until the very end. This sounds
ridiculous, but it is a common mistake.
With the story in sequence form, it
is easy to break it up into scenes. These
may be rewritten in script form for
guidance, but it is equally important
for the director to have a series of men-
tal images for each sequence as to have
a series of scenes on paper. The mental
plan will serve to keep the production
moving smoothly and surely; it is often
in the imagination of the director, at
the time of or just before shooting, that
the most effective scenes are conceived.
Use many closeups and change the cam-
era angle frequently. During the dis-
play of any emotion and both before
and after a character speaks for a title,
the action should be in closeups.
After the plot has been completely
scenarized, investigate it from several
angles. Is it simple enough for the
amount of film planned? Are there any
side plots which might be confusing to
the audience? What are the relative
dramatic values of the sequences and
where is the high point of each? Try to
plan the most effective production of
each unit separately before you attempt
the best synthesis of the whole. If the
plot climax comes near the end of the
story, be sure that there is not an anti-
climax which detracts from its dramatic
value.
Now estimate the footage for each
sequence. This is done by going through
the action in pantomime, allowing for
closeups and various other inserts,
while your partner times the action with
a watch. This time in seconds divided
by two and a half equals the approxi-
mate amount of film required for that
bit of action. The importance of doing
this cannot be overemphasized, for two
purposes are served. First, the action
is rehearsed by the director and fixed
in his mind; secondly, the estimated
footage will enable one to determine
whether that amount of film is justi-
fied by the dramatic value of the action.
Don't allow thirty feet of film for a
piece of scenery, no matter how beauti-
ful it may be, unless that scenery fur-
thers the plot in some way.
The actual producing staff of most
amateur photoplay units should be
small. Heading the group, of course, is
the director who, in some cases, may
have also the duties of cameraman. The
assumption of such a dual role by one
person, however, is not to be recom-
mended, for the duties of a director are
sufficient to occupy the mind of anyone.
Second only to the director is the cam-
eraman. It is absolutely necessary that
the director and photographer work to-
gether in close harmony, for there is no
sharp line between the duties of the
two.
In addition to these two officials,
there is usually a need for someone to
look after the properties. These will in-
clude not only the furniture and ar-
ticles on the set, but the settings them
selves, as well as the costumes. In any
amateur group too great a division of
labor is likely to be more cumbersome
than advantageous. Indeed, it is prob-
ably safe to say that two persons work-
ing together as director and photog-
rapher respectively make the most effi-
cient prime movers for the amateur
photoplay even if the production sched-
ule may be delayed while they scurry
for properties.
News of the industry
[Continued from page 558]
ABC of lettering ■ A very valua
able book giv-
ing the principles of special types of
lettering has been written by Carl
Holmes, ACL, and is published by Wil-
liam T. Foster Service, Palms, Calif.
Many unusual styles of lettering are
shown together with the elementary
steps in technique. For those who make
their own titles this book should be an
aid in achieving outstanding effects.
Grace dissolve ■ William J .
Grace, ACL,
whose adaptations of the Cine-Kodak
to back cranking are well known to
amateurs, offers a refinement in his re-
wind key idea and the addition of a
new dissolve device. Replacing the key
with a large knurled knob has made
turning the mechanism back easier than
before. Driven by a worm gear, a shaft
extends along the side of the camera to
the front of the lens hood. Upon the
end of the shaft is a transparent disc
with an opaque section which, as it
automatically revolves, provides the
fade. A clutch enables the cameraman
to start or stop the fade where he
chooses. While a two and one half sec-
ond dissolve is regularly supplied, any
length can be made. Easily attached,
the device involves no changes in the
regular functioning of the Cine-Kodak.
Mr. Grace can be reached at 1222 Kirby
Building, Dallas, Texas.
U-Nite-lt ■ A very convenient form
of ready to assemble
shelving and cabinet storage space is
announced by the Long Bell Lumber
Sales Corp., of Kansas City, Mo. The
material comes "knocked down" and
may be assembled into many different
forms of storage construction, providing
for the movie maker shelves on which
to store reels, cans, accessories and
other cine apparatus which are usually
SHOW
HOME
MOVIES
OF
PLAY-
HOUSE
GRADE
On your 16 mm. films you have far better
pictures than you've shown on your screen.
Fit your projector with Bausch & Lomb's new
Biophor Lenses and see your shots leap out
brighter, clearer, in penetrating detail.
Seven focal lengths, designed to fit stand-
ard projectors, give picture widths of 1 to 11
feet, or more; projection distances, 3 to 100
feet and beyond. In every case with the bril-
liant sharpness that movie audiences find at
theatres.
Ask your dealer. Or send for free folder
describing these remarkable Biophors.
BAUSCH & LOMB
OPTICAL COMPANY
679 St. Paul St. Rochester, N. Y.
Guy D. Haselton's
TRAVELETTES—
Let's See
Yosemite!
— an exceptionally beauti-
ful subject; 400 ft., $24.00.
MAY WE SEND YOU
OUR NEW ILLUSTRAT-
ED BOOKLET?
7'nn Santa Monica Blvd.
Hollywood
N
EWMANUTE
FLARES
THE ONLY METHOD FOR TAKING
OUTDOOR MOVIES AT NIGHT!
In winter night photography, beautiful and
vivid effects are obtained with the aid of
Newmanlite Flares. It is the most effec-
tive illumination known for the world out-
doors, one flare equalling 75.000 candle
power.
Booklet and prices on request
I.C. NEWMAN CO., Inc.
545 FIFTH AVENUE
NEW YORK, N. Y.
574
DECEMBER 1932
The Xth Olympic Games
held at Los Angeles last summer.
1400 FEET IN 16MM.
The opening ceremonies, Track, Field,
Equestrian, Aquatic and Fencing events
attractively photographed.
To be had in 100, 200 and 400 foot reels
at $7.00, $14.00 and $28.00 respectively.
Postage prepaid.
Also a 200 foot reel of "HOLLYWOOD
STARS ON PARADE," showing closeups of
motion picture stars attending the world's
Previews of "GRAND HOTEL" and
"STRANGE INTERLUDE."
Also a 200 foot reel of a real wild West
RODEO at the Los Angeles OLYMPIC
STADIUM.
Circular and prices on request.
PARRY FILM CO.
10100 West Pico Blvd., Los Angeles
Member ACL
GIFT
PERMANENT
Adhesive Letters for All Title Making
Stick Anywhere Retain Adhesive
Easily Removed Qualities indefinitely
Leave No Trace
330 East 43rd Street
New York City
George A. Prendergast
FAIRYLAND PARADE
100 ft. 16mm. $2.90
Includes Santa Claus — and humorous scenes
Staged by J. L. Hudson Co. of Detroit
MERRY XMAS and HAPPY NEW YEAR TITLE
on beautiful moving background 35c or free with 10
end titles at $1.00. Moving background on all end titles
— no two alike.
16mm. motion picture work of all kinds — 35mm. Leica
and Ansco Film slides. Descriptive booklets free.
Hazen Coon
H. C. FILM SERVICE. 1219) llene Ave., Detroit, Mich.
i.'1-i-iTn.ri- i »_?..'•' '■' *:■< ' i.t-^t'^r^i^
All Metal — Humidor
REEL PACK
The Ideal Case to
PACK— CARRY— STORE
16 MM. FILM
6 Reel or 12 Reel Size
Fried Manufacturing Co.
5151 W. 65th St.. Chicago. 111.
■[ji^jm irELrtrTCTiVi "."■ rxja:
16mm. RENTAL LIBRARY
SHORT SUBJECTS— OUTSTANDING FEATURES
Maximum Weekly Rental — $1.00 per reel
Excellent New and Used 16mm. Subjects, Acces-
sories and Supplies for Sale at Attractive Prices.
Get our Free Catalogue.
EASTIN FEATURE FILMS
Galesburg, III.
16mm. Film Rental Library
Send for List of In-
teresting Subjects for
Home Entertainment
COMPLETE
HOME MOVIE
SERVICE
Cameras — Projectors
Lights
For Sale or Rental
DOLEGA STUDIOS
242 Nepperhan Avenue, Yonkers, N. Y.
tucked in odd places around the house.
Inasmuch as the construction is by
units, a shelf or cabinet built up by this
method may be made to fit any space.
Two leading retailers of
amateur industry together
new ♦ new °p*imisfic
From the photograph
above it will be seen
clearly that Charles Bass of Chicago
and Joseph Dombroff of Willoughbys,
New York, two of the industry's leading
retailers, are not at all doubtful about
the good business that December will
record. Mr. Dombroff recently visited
his many friends in the Middle West.
Novel titles ■ Considerable saving
is affected in buying
titles in one hundred foot lengths ac-
cording to a plan worked out by Novel
Cine Titles, 528 Franklin Avenue,
Council Bluffs, Iowa. Appropriate back-
grounds are used if desired. The cus-
tomer may furnish cards if he chooses,
resulting in considerable saving in cost.
Missing projector
The Bass
Camera Com-
pany, 179 West Madison Street, Chi-
cago, 111., offers a twenty-five dollar re-
ward for the return of a projector taken
from their premises on November 9.
The projector is described as follows:
Bell & Howell, Model JL, brown finish,
serial number 149627.
lottingS ■ Phil Lasher, Ltd., photo-
graphic dealers in San
Francisco, announce that they have
moved to a new address at 254 Sutter
Street. ■ An inexpensive 6 power achro-
matic telescope is announced by the
Wollensak Optical Company of Roch-
ester, N. Y. ■ Seidman Photo Service,
125 W. 45th St., New York City, reports
that they have not yet recovered the Bell
& Howell projector which was stolen
from them last June. The serial number
is 17170.
Adhesive letters ■ A new *ype of
celluloid 1 e t-
ters with an adhesive substance on the
back has been introduced recently by
George A. Prendergast, 330 E. 43rd St.,
New York City. They come in various
colors and sizes, in boxes of one hun-
dred. It is claimed that the substance
coated on the back will retain its ad-
hesive qualities indefinitely, making it
possible to use the letters over and over
again by placing them lightly on any
surface. While they adhere firmly in
position, the letters leave no trace on
the surface after removal.
Filmo Topics ■ ^he December num-
ber of Filmo Top-
ics, the helpful magazine published by
Bell & Howell Company of Chicago, is
full of interesting information. Christ-
mas filming suggestions, the first of a
new series of articles on titles and the
popular question and answer depart-
ment are a few of the highlights. A word
to its editor will bring a sample copy of
this aid to amateur filming.
Latest addition to popular
Cine-Kodak Eight camera is
provided with extra lenses
Cine-Kodak News ■ The holiday
issue of this
interesting publication will contain the
latest details concerning the new 16mm.
and 8mm. apparatus, together with
many fruitful suggestions for its use. A
sample copy will be sent to any Movie
Makers' reader who applies to the East-
man Kodak Company, Rochester, N. Y.
Corcoran Brown Flector is
offered for still or movie
photography by lamp makers
MOVIE MAKERS
575
"Talktitles"
of Universal
is new device
Microphone Co.
Universal Talktitles ■ By means
of a small
input amplifier and hand held micro-
phone, the amateur may use his radio to
provide a loudspeaker for screen pres-
entations. This inexpensive outfit was
recently announced by the Universal
Microphone Company, Ltd. of Ingle-
wood, Calif. The idea should prove pop-
ular with amateurs and makes possible
an interesting addition to screening
home movies.
Mogull Serves ■ Located at 1944
Boston Road, the
Bronx, New York City, Mogull Brothers
now offer a complete line of Pathex
equipment and accessories, with an ex-
tensive library which features 9.5mm.
sound on disc productions. This active
dealer is also equipped for complete
sales and service on standard 16mm.
products.
College Collection ■ Through
the co-
operation of the American Photo-
graphic Publishing Company, all the
copies of magazines sent in exchange
for American Photography have recent-
ly been contributed to the Harvard Col-
lege Library. The collection extends
back over twenty five years and in-
cludes copies of nearly every photo-
graphic magazine published during
that time. The file of Movie Makers,
originally incomplete as are many of
the others, has been completed through
this office. It is hoped that anyone
having back numbers of other photo-
graphic journals which they are will-
ing to contribute to this unusual collec-
tion will get in touch directly with the
Harvard College Library, Cambridge,
Mass., detailing the available issues,
so that the Library can request them, if
among those still missing.
Scotch Cellulose ■ A transparent
cellulose tape
which will stick permanently to any sur-
face is made by the Minnesota Mining
and Manufacturing Company, 480
Canal Street, New York City. This tape
is excellent for use in indefinitely pro-
tecting paper labels on film cans, boxes,
reels, etc., and may be used to label
the film leader itself. The tape is
heavy, perfectly transparent and resists
tearing. It comes in various widths and
colors in long or short rolls.
Ace projector ■ Embodying a new
principle in pro-
jectors, the Ace Manufacturing Com-
pany of Milwaukee, Wise, recently
announced the Ace Toy Projector. Of
simple and sturdy construction, this
projector is unique in that it has no
sprockets and uses a ratchet like device
for the pull down action. The shutter is
built as a part of the pull down claw,
making the entire mechanism very sim-
ple. The illumination is furnished by a
standard 150 watt bulb. Bulbs of higher
wattage may be used and the projector
can be operated on either A. C. or D. C.
Motor driven with speed control by
means of a rheostat, this novel little pro-
jector has a capacity of one hundred
feet of 16mm. film. Although sold in the
toy field, it is distinctly more than a toy.
New Ace projector with a
150 watt bulb, motor drive
and rheostat speed control
Amateur clubs
[Continued from page 553]
vicepresident; W. Dean Haskell, treas-
urer; Mr. Rosenberg, secretary. Serv-
ing with them on the board of directors
are Mr. Fox and Frank Tiscornia, ACL,
editor of Camera-Action.
Poor Ellen ■ Another melodrama,
delightful in its seri-
ous characterizations and adroit in its
cutting and camera treatment, has been
completed under the direction of Jack
Navin, ACL, producer of Sophistication
and Those Mad Barclays. The new
work is Drifting, a direct descendant in
the Navin tradition, as it tells a tale of
the relentless downfall of too, too pretty
Ellen Rowen in vain search of her kid-
napped little brother. Once the toast
of Paris, in the end a drab of Montreal
slums, Ellen drifts inevitably to a
harsh fate, protesting bitterly on her
pathway that she "was once a lady."
Elizabeth Sutherland played Ellen with
Exceptional
Movie Values
All merchandise absolutely new
or in a condition equal to new.
■ De Vry 57 Camera fitted with T
f/3.5 Graf lens, listed at
$57.50. Keystone A 74 Pro- ), <t C.A C(\
jector, 200 watt lamp, listed "" UTJU
at $50.00 J
■ Victor 3 Camera, fitted with |
//3.5 lens, incl. case, listed
at $92.00 Keystone A 74 Pro- \ $ ] 05.00
jector, 200 watt lamp, listed
at $50.00 J
■ Ensign Cine Camera with |
//2.6 lens, incl. case, listed
at $99.00. Bell & Howell GJ > S 185-00
Projector, 375 watt lamp,
listed at $215 J
■ Cine Kodak Model BB with -.
//1.9 lens, listed at $125. 1 (j-OIAfiA
Ampro De Luxe Projector, fJ)Clv/.UU
400 watt lamp, listed at $200. J
■ Victor 5 Camera, turret, with -\
//2.9 lens, incl. case, listed I d"0 7f"l C\C\
at $202. Ampro Projector, (4>CL\J.\J\J
400 watt lamp, listed at $175 J
■ Bell & Howell 70DA Camera, "1
//3.5 lens, incl. B case, it.r%*~r\ ^/->
listed at $286. Bell & Howell > $360.00
GG Projector, 375 watt lamp,
listed at $260 J
Your Old Outfit Accepted in Exchange
ABE COHEN'S
EXCHANGE
120 FULTON STREET, NEW YORK
ANNOU NC I NC
A Single System Custom
Built 16mm. Sound - on -
Film Camera
. . . the last word in camera
design.
Special Motion Picture Equip-
ment Built to Order
ERIC M. BERNDT
SOUND
112 East 73d St.
New York
COLOR
576
DECEMBER 1932
AROUND THE WORLD WITH MOVIE MAKERS
An International List Of The Dealers Who Garry This Magazine — VISIT THEM!
UNITED STATES
ARIZONA
Nogales: A. W. Lohn, 309 Morley Ave.
Tucson: William M. Dennis, 22 United Bank
Bldg.
T. Ed. Litt, Cor. Congress & Stone.
CALIFORNIA
Berkeley: Berkeley Commercial Photo Co., 251S
Bancroft Way.
J. F. Hink & Son, Shattuck & Kittredge.
Beverly Hills: Bob Robinson Home Movies, 417
N. Beverly Drive.
East San Diego: Bluebird Camera Shop, 4236
University Ave.
Fresno: Potter Drug Co., 1112 Fulton St.
Glendale: Kug-Art Photo Service, 507 W.
Colorado Blvd.
Hollywood: Bell & Howell Co., 716 N. LaBrea
Ave.
Hollywood Camera Exchange, Ltd., 1600 N.
Cahuenga Blvd.
Hollywood Camera Shop, 1442 N. Highland
Ave.
Hollywood Citizen, 6366 Hollywood Blvd.
Hollywood Film Enterprises, Inc., 6058 Sunset
Bird.
Huntington Park: Huntington Park Camera
Shop, 6508 Pacific Blvd.
Long Beach: Winstead Bros. Inc., 244 Pine
Ave.
Los Angeles: Billy Burke Home Movies, 5372
Wilshire Blvd.
Eastman Kodak Stores, Inc., 643 S. Hill St.
Educational Project-O Film Co.. 317 N.
Fairfax.
John R. Gordon, 1129 S. Mariposa Ave.
T. Iwata Art Store, 256 E. First St.
Earl V. Lewis Co., 226 W. 4th St.
Marshutz Optical Co., 518 W. 6th St.
Schwabacher-Frey Stationery Co., Box 1347,
Arc. Annex.
Wilshire Personal Movie Co., 3150 Wilshire
Blvd.
Monrovia: Cliff's Photo Art Shop.
Oakland: Adams & Co., 380 14th St.
Eastman Kodak Stores, Inc., 1918 Broadway.
Palo Alto: David Keeble.
Pasadena: F. W. Reed Co., 176 E. Colorado St.
Richmond: La Moine Drug Co., 900 Mac
Donald Ave.
Riverside: F. W. Twogood, 3700 Main St.
Sacramento: Frank McDougal, 1017 10th St.
San Bernardino: Steele's Photo Service, 370 D
St.
San Diego: Ace Drug Co., 820 W. Washington
St.
Bunnell Photo Shop, 1033 Sixth St.
Victor Doyle, 1224 Fifth Ave.
Eastman Kodak Stores, Inc.. 419 Broadway.
Harold E. Lutes, 958 Fifth St.
San Francisco: Cine Shop, 145 Kearny St.
Eastman Kodak Stores, Inc., 216 Post St.
Hirscli & Kaye, 239 Grant Ave.
Kahn & Co., 54 Geary St.
Phil Lasher, Ltd., 254 Sutter St.
San Francisco Camera Exchange, 88 Third St.
Scliwabacher-Frey Stationery Co., 735 Market
St.
Sherman, Clay & Co., Kearny and Sutter Sts.
Trainer-Parsons Optical Co., 228 Post St.
San Jose: Webb's Photo Supply Store, 66 S.
First St.
San Luis Obispo: Mathews & Carpenter (Rexall
Drug Store), 839 Higusra St.
San Rafael: Webb & Rogers, 4th and B Sts.
Santa Ana: Stein's Stationery Store, 307 W.
Fourth St.
Santa Barbara: Camera Shop, 800 State St.
Faulding's, 623 State St.
Santa Monica: Bertholf Photo Finishng, 1456
Third St.
Stockton: Holden Drug Co., 345 E. Weber Ave.
Logan- Studios, 20 N. San Joaquin St.
Peffer Music Co., 40 S. California St.
West Hollywood: Richter's Photo Service, 7915
Santa Monica Blvd.
Whittier: Maxwell C. Peel, 226 E. Philadel-
phia.
COLORADO
Denver: Eastman Kodak Stores, Inc., 626-16
St.
Haanstad's Camera Shop. 404-16th St.
The May Co., 16th & Champa Sts.
CONNECTICUT
Bridgeport: Fritz & Hawley, Inc., 1030 Main
St.
Harvey & Lewis Co., 1148 Main St.
Danbury: Heim's Music Store, Inc., 221 Main St.
Hartfqrd: Harrison Harries, 360 Main St.
Harvey & Lewis Co., 852 Main St.
D. G. Stoughton Co., 255 S. Whitney St.
Watkins Bros., Inc., 241 Asylum St.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343
Elm St.
Fritz & Hawley, Inc., 816 Chapel St.
Harvey & Lewis Co., 849 Chapel St.
Norwich: Cranston Co., 25 Broadway.
Waterbury: Curtis Art Co.. 65 W. Main St.
Wilhelm, Inc., 139 W. Main St.
DELAWARE
New Castle: E. Challenger & Son.
Wilmington: Butler's, Inc., 415 Market St.
Frost Bros., duPont Bldg.
Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave.
DISTRICT OF COLUMBIA
Washington: Columbia Photo Supply Co., Inc.,
1424 New York Ave., N. W.
Eastman Kodak Stores, Inc., 607-14th St.,
N. W.
Fuller & d'Albert, Inc., 815-10th St., N. W.
Robbin's, National Press Bldg., 529-14th St.,
N. W., opposite Willard Hotel.
FLORIDA
Clearwater: Courtesy Cigar Store, Post Office
Arcade.
Jacksonville: McDaniel Gift Shop, 21 W. For-
syth St.
Miami: Miami Photo Supply Co., 31 S. E.
First Ave.
St. Petersburg: Robison's Camera Shop, 410
Central Ave.
Tampa: Burgert Bros., Inc., 608 Madison St.
GEORGIA
Atlanta: Eastman Kodak Stores, Inc., 183
Peachtree St.
IDAHO
Boise: Ballou-Latimer Co., Idaho at 9th St.
Pocatello: Cook Drug Co., 333 W. Center St.
ILLINOIS
Chicago: Associated Film Libraries, Inc.,
Suite 224, State-Lake Bldg., 190 N. State St.
BASS CAMERA CO., INC., 179 W. Madi-
son St..
CENTRAL CAMERA CO., 230 S. Wabash
Ave.
Aimer Coe & Co., 78 E. Jackson Blvd.
18 So. La Salle St.
105 N. Wabash Ave.
Eastman Kodak Stores Co., 133 N. Wabash
Ave.
Fair, The, Dept. 93, State, Adams & Dearborn
Sts.
Ideal Pictures Corp., 26 E. 8th St.
Lake Shore Radio Co., 3204-6 Broadway.
Lyon & Healy, Inc., Wabash Ave. at Jack-
son Blvd.
Norman-Willets Co., 318 W. Washington St.
Post Office News Co., 37 W. Monroe St.
Seamans, Photo Finisher, 1953 E. 71st St.
Stanley-Warren Co., 918 Irving Park Blvd.
WOLK CAMERA CO., Opp. Post Office, 219
S. Dearborn St.
Evanston: Aimer Coe & Co., 1645 Orrington
Ave.
Hattstrom & Sanders. Inc.. 702 Church St.
Galesburg: Illinois Camera Shop, 84 S. Prairie
St.
Highland Park: Hattstrom & Sanders, Inc., 391
Central Ave.
Moline: Seaholms Kodak Headquarters, 1507
Fifth Ave.
Oak Park: Hattstrom & Sanders, Inc., Cor.
Forest & Lake St.
Rockford: Johnson Photo Shop, 316 E. State
St.
Springfield: Camera Shop, 320 S. 5th St.
INDIANA
Evansville: Smith & Butterfield, 310 Main St.
Fort Wayne: Howard Co., Inc., 112 W. Wayne
St.
Frankfort- Pathex Agency, 206 E. Walnut St.
Indianapolis: L. S. Ayres & Co., Dept. 290, 1
W. Washington St.
H. Lieber Co., 24 W. Washington St.
South Bend: Ault Camera Shop, 122 S. Main
St.
309 S. Michigan St.
Terre Haute: Snyder's Art Store, 21 S. 7th St.
IOWA
Burlington: Sutter Drug Co., 3rd & Jefferson
Sts.
Cedar Rapids: Camera Shop, 220 Third Ave.
Davenport: Eastman Kodak Stores, Inc., 318
Brady St.
Des Moines: Eastman Kodak Stores, Inc., 808
Locust St.
Westing Photo Service, 3816-6th Ave.
Iowa City: Rexall & Kodak Store, 124 E. Col-
lege St.
Sioux City: Eastman Kodak Stores, Inc., 608
Pierce St.
Waterloo: Macks Photo Shop, 225 W. 5th St.
Seehawk Camera Shop-Studio, 189 W. 4th St.
KANSAS
Topeka: Hall Stationery Co., 623 Kansas Ave.
Wichita: Lawrence Photo Supply Co., 149 N.
Lawrence Ave.
KENTUCKY
Lexincton: W. W. Still, 129 W. Short St.
Louisville: A. L. Bollinger Drug Co., Frank-
fort & Stilz Aves.
W. D. Gatchel & Sons, 431 W. Walnut St.
Sutcliffe Co., 225-227 S. 4th Ave.
LOUISIANA
Alexandria: Newcomb Studios, 330 Johnston St.
New Orleans: Eastman Kodak Stores, Inc., 213
Baronne St.
MAINE
Auburn: Wells Sporting Goods Co., 52-54
Court St.
Bangor: Francis A. Frawley, 104 Main St.
Portland: Bicknell Photo Service, Inc., 43 Ex-
change St.
MARYLAND
Baltimore: Eastman Kodak Stores, Inc., 309
N. Charles St.
Folkemer Photo Service, 2814 Rayner Ave.
Stark-Films, 219 W. Centre St.
Zepp Photo Supply Co., 3044 Greenmount Ave.
Hagerstown: R. M. Hays and Bros., Inc., 28-
30 W. Washington St.
MASSACHUSETTS
Boston: Boston Camera Exchange, 44 Brom-
field St.
James W. Brine Co., 92 Summer St.
Cinecraft Co. of New England, 80 Boylston St.
Eastman Kodak Stores, Inc., 38 Bromfield St.
Hotel Statler.
Ralph Harris & Co., 30 Bromfield St.
Iver Johnson Sporting Goods Co., 155 Wash-
ington St.
Andrew J. Lloyd Co., 300 Washington St.
Montgomery-Frost Co., 40 Bromfield St.
Pathescope Co., of the N. E., Inc., 438 Stuart
St., cor. Trinity PI.
Pinkham & Smith Co., 13 Bromfield St.
Solatia M. Taylor Co., 56 Bromfield St.
Cambridge: E. M. F. Electrical Supply Co., 430
Massachusetts Ave.
Lowell: Donaldson's, 75 Merrimack St.
Lynn: Moehring's, Inc., 490 Washington St.
New Bedford: J. Arnold Wright, 7 S. 6th St.
Newton ville: Newton Photo Shop, 92 Bower St.
Pittsfield: E. C. Kilian, 411 North St.
Salem: Pitman Movie Service, 45 Summit Ave.
Ernest L. Vent Motion Picture Service, 53
Washington St.
Springfield: J. E. Cheney & Staff, Inc., 301
Bridge St.
Harvey & Lewis Co., 1503 Main St.
Worcester: J. C. Freeman & Co., 376 Main St.
Harvey & Lewis Co., 513 Main St.
L. B. Wheaton, 368 Main St.
(Continued on fage 578)
MOVIE MAKERS
577
a defensive delicacy that was touching.
Other parts were ably carried by Vir-
ginia Simmons, Margaret Newnan,
Gretchen Rickel, Mary Reynolds, Nel-
lie Navin, Martha Blodgett, Coman
Munroe, Junie Newnan, Ted Newnan,
Bobby Sutherland, Fred Griffiths, Bill
Laurie, Thayer Hutchinson, Bob Drys-
dale, John Hutchinson, Edward Mac-
kenzie, Bill Newnan, the Blodgetts and
Mr. Navin.
Bergen active ■ Tne G°od C°°k is
the working title
of the story selected by members of the
Bergen County Cine Club, in Engle-
wood, N. J., for their first production.
Written by Theodore Huff, ACL, and
scenarized by him and Mark A. Bor-
gatta, the story by now should be well
into production. At late meetings the
club has been addressed by Frederick
G. Beach, ACL, Technical Adviser of
the Amateur Cinema League, who
spoke on the first principles of movie
making, and by Francis Doublier, who
discussed the beginnings of the motion
picture. Among the members' films
which have been screened are Little
Geezer, by Mr. Huff; The Harbor, a
Symphony of the Waterfront, by Louis
Wellender; Father's Day of Rest, by
John H. Wood, ACL; The Gravedig-
gers' Scene from Hamlet, by Mr. Huff;
Travels, by Mr. Borgatta. Four new
members have recently been enrolled
in this young and active club, which
meets fortnightly. Bergen County movie
makers interested in associating with
the club may address it in care of the
Amateur Cinema League.
Boston Contest ■ The closing date
for the amateur
filming contest among members of the
Boston Cinamateur Club has been de-
ferred until the 12th of this month to
take care of the growing enthusiasm
and interest among the entire member-
ship, according to the report of secre-
tary Tom Patten, ACL. Results will be
carried in this department early in the
new year. Weekly programs of the Bos-
ton group have featured a delightful
club Hallowe'en party; talks on devel-
oping and printing, by Bill Meikle; on
chemistry and photography, by Leo
Jennings; on titles and title making by
Al Genaske, ACL. The club production,
Murder by Telephone, has progressed
swiftly and will soon be presented in its
final form.
Spotlight ■ T° date, The Spotlight,
monthly bulletin of the
Greenbrier Amateur Movie Club, in
White Sulphur Springs, W. Va., stands
as one of the most distinguished of the
numerous club publications which
come to headquarters. The latest issue
at hand runs eight pages and is printed
with a pleasing selection of type faces.
A further report on Greenbrier's third
major production, Any Ice Today,
Lady?, lists John Mahoney, assistant
director; J. W. Coleburn, jr., assistant
cameraman; Genevieve L. Wyatt, script
clerk; with Beryl Simpson, W. W.
Buran and Lon Chassy playing sup-
porting roles to the leads announced
earlier in this department.
Slin Scenes ■ Solar scenes made
with an especially
constructed thirty inch telescope cam-
era, designed and mounted by Charles
Coles, were shown by Robert Coles,
ACL, in his film, The Total Eclipse of
1932, at a late meeting of the Brooklyn
Motion Picture Club. Other views in
this reel present in some detail the
preparations, equipment and leading
scientists of four of the professional
solar filming expeditions. Club presi-
dent Edward H. Marsh, ACL, showed
a motion picture study of the manual
versus machine operations in opening
and closing gas main ditches, and the
meeting was concluded with the screen-
ing of Wild Rice and Isles of Sunshine
from the League Club Library.
Titles ■ Title making, plain and fan-
cy, was the featured subject
of an address by 0. Howard Shotafer
at a late meeting of the Cine-Still Club
of Philadelphia, according to the re-
port of secretary Milton Feinberg.
Demonstration reels on the subject
were screened by Mr. Shotafer, as well
as a reel of animated cartoons made by
a member of the club. The meeting was
concluded following the inspection of
a 16mm. sound on film projector.
Publicity ■ ^n Massachusetts, the
Springfield Cinema
Club has been reviewing and discuss-
ing an Italian travelog made during the
summer by club president Robert Mo-
retti, an addition to the club's film
library which brings the total to over
3000 feet. Early in the new year the
club will sponsor a column of amateur
movie news in the local press and will
edit a club news letter.
Olympic record ■ Fifty members
of the Los An-
geles Amateur Cine Club shot 10,000
feet of 16mm. film of the recent Tenth
Olympic Games and have, through the
unceasing work of an editing committee
over three months, prepared a complete
record of this important event which
should set a new mark in cooperative
club filming. The arduous job of edit-
ing was carried on by president Wayne
Fisher, secretary Perry Backus, Fred
Champion, ACL, Church Anderson,
ACL, Tracy Q. Hall, ACL, E. G. Chap-
man, Dr. W. R. Maiden and Frank B.
Skeele. During the Games special con-
cessions were granted the cameramen
of the Los Angeles club, which made
&J2obei<grtt3fbea
Why not present your friends with their
own films, interestingly and exceptionally
edited by Ralph R. Eno? With every
such reel there will be included
... FREE ...
a hand-lettered title assembly spliced in
to introduce your film. This consists of
a set of high-grade, double-exposed,
hand-lettered titles with appropriate
backgrounds and complete with fades and
dissolves. Include copy for three main
titles.
Special Holiday Price
$10,00
For one reel, any size
EALPH E. ENC
America's Pioneer (16mm.) Art Title
Builder and Film Editor, Charter
Member ACL
METROPOLITAN OPERA HOUSE STUDIOS
1425 Broadway, New York
Gifts!
CRAIG SPLICER, $15.00
CRAIG COMBINATION, $25.00
CRAIG MOVIE SUPPLY Co.
LOS ANGELES, CALIFORNIA
Represented by Ampro in the East
578
DECEMBER 1932
(Continued from fagc 576)
MICHIGAN
Detroit: CLARK CINE-SERVICE, Em. 203-4,
Professional Bldg., 10 Peterboro.
Crowley, Milner & Co., Sixth Floor, Dept.
124.
Detroit Camera Shop, 325 State St.
Eastman Kodak Stores, Inc., 1235 Washing-
ton Blvd.: 156 Larned St.
H. C. FILM SERVICE, 12191 Ilene Ave.
J. L. Hudson Co., Dept. 29U.
E. B. Meyrowitz, Inc., 1516 Wasnington Blvd.
Flint: Gardner Photo Service, 1425 Detroit St.
Grand Rapids: Photo Service Shop, 44 Monroe
Ave.
Jackson: Royal Film Service, 125 Michigan
Ave., W.
Lansing: Linn Camera Shop, 109 S. Washington
Ave.
Saginaw: Heavenrich Bros. & Co., 301 Genesee
MINNESOTA
Duluth: Eastman Kodak Stores Co., 3 W.
Superior St.
Lerov: The Edison Store.
Minneapolis: Eastman Kodak Stores, Inc., 112
S. Fifth St.
Gospeter's Blue Front, 1006 Nicollet Ave.
Ideal Pictures Corp., 321-27 Loeb Arcade
Bldg.
E. B. Meyrowitz, Inc.. 825 Nicollet Ave .
National Camera Exchange, 5 S. Fiftli St.
Owatonna: B. W. Johnson Gift Shop, 130 W.
Bridge St.
St. Paul: Eastman Kodak Stores Co., Kodak
Bldg., 91 E. Sixth St.
H. W. Fisher Photographic Supplies, 381 Min-
nesota St.
E. B. Meyrowitz, Inc., 358 St. Peter St.
St. Marie Cigar & News Co., 96 E. 5th St.
MISSOURI
Kansas City: Eastman Kodak Stores, Inc., 916
Grand Ave.
1006 Main St.
21 E. 11th St
Hanley's Photo Shop, 116 E. 10th St.
Plaza Camera Co., 4707 Central St.
St. Louis: A. S. Aloe Co., 707 Olive St.
Eastman Kodak Stores, Inc., 1009 Olive St.
Erker Bros., 608 Olive St.
Famous-Barr Co., Motion Picture Dept., Main
Floor, 6th & Olive Sts.
Geo. D. Fisher & Co., 915 Locust St.
MONTANA
Billings: Midland Drug Co., 23 N. 27th St.
NEBRASKA
Beatrice: Rozell's, Rozell Bldg., N. 5th St.
Lincoln: Eastman Kodak Stores, Inc., 1217 O
St.
Omaha: Eastman Kodak Stores, Inc., 419 S. 16
St.
J. G. Kretschmer & Co., 1617 Harney St.
NEW HAMPSHIRE
Lebanon: Photocraft Co.
Newport: K. E. Waldron, 1 A Main St.
NEW JERSEY
Atlantic City: Eastman Kodak Storos, Inc.,
1735-37 Boardwalk.
Bayonne: Harry Kaplan, 534 Broadway.
Bergenfield: Bergenfield Radio & Elec, 67 S.
Washington Ave.
Cliffside Park: Louis C. Ghiosay, 639 Anderson
Ave.
Hawthorne: Hawthorne Home Movie Service,
52 MacFarlan Ave.
Irvington: Wolf Bros., Inc., 1340 Springfield
Ave.
Jersey City: Graefs Service Pharmacy, 478 West-
side Ave.
Levy's Sport Shop, 149 Monticello Ave.
Kearny: Kearny Prescription Pharmacy, 238
Kearny Ave., cor. Bergen Ave.
Lakewood: Artist's Photo Service, 19 Fourth St.
Montci.air: Edward Madison Co., 427 Bloom-
field Ave.
Morristown: Ajemian Camera Shop, 35 South
St.
Newark: Anspach Bros., 838 Broad St.
L. Bamberger & Co., Camera Dept.
Fireman's Drug Store, Market and Broad.
J. C. Reiss, 10 Hill St.
Schaeffer Co.. 103 Haisey St.
Paterson: Robert G. Smith, 40 Hamilton St.
Walker Radio & Elec, Co., 318 E. 33rd St.
Summit: Eastman Bookshop, 380 Springfield Ave.
Trenton: Dwyer Bros., 127 N. Broad St.
Howard E. Thompson, 35 Newkirk Ave.
Union City: Heraco Exchange, Inc., 611 S.
Bergenline Ave.
West New York: Rembrandt Studio, 526 "d"
Bergenline Ave.
NEW MEXICO
Santa Fe: Capital Pharmacy, Inc., "At the End
of the Santa Fe Trail".
NEW YORK
Albany: Albany Photo Supply Co., Inc., 204
Washington Ave.
E. S. Baldwin, 32 Maiden Lane.
F. E. Colwell Co.. 465 Broadway.
Binghamtcn: Austin S. Bump Co., 180 Wash-
ington St.
Brooklyn: Abraham & Straus, Inc., Dept. 120,
Fulton and Hoyt Sts.
Geo. J. McFadden, Inc., 202 Flatbush Ave.
J. NAVILIO, 1757 Broadway.
New York Band Instrument Co., 1225 Broad-
way.
Buffalo: J. F. Adams, Inc., 459 Washington
St.
Hauser Bob, 11 W. Tupper St.
Buffalo Photo Material Co., 37 Niagara St.
United Projector & Film Corp., 228 Franklin
St.
Goshen: T. H. Finan.
Haverstraw: E. H. Vandenburgh, 3 Broadway.
Hempstead: Agnew's, 47 Main St.
Ithaca: Henry R. Head, 109 N. Aurora St.
Treman, King & Co., care of Geo. E. Hough-
ton.
Long Island City: Rapid Photo Finishing Co.,
35-08 Broadway.
New Rochelle: Artist's Photo Service, 219
Huguenot St.
Ye Little Photo Shoppe, Inc., 457 Main St.
New York City: Abercrombie & Fitch, 45th &
Madison Ave.
American News Co. and its Subsidiaries, 131
Varick St.
Adam Archinal Corp., 305 W. 56th St.
Bloomingdale's, Lexington Ave. at 59th St.
J. H. Boozer, 145 E. 60th St., nr. Lexington
Ave.
City Camera Co., 110 W. 42nd St.
City Radio, 42 Cortlandt St.
ABE COHEN'S CAMERA EXCHANGE, 120
Fulton St.
COLUMBUS PHOTO SUPPLY, 146 Colum-
bus Ave.
Crown Motion Picture Supplies, 311 W. 44th
St.
Cullen, 12 Maiden Lane.
Davega, Inc., Ill E. 42nd St.
152 W. 42nd St.
Empire State Bldg.
Eastman Kodak Stores, Inc., 356 Madison
Ave., at 45th St.
235 W. 23rd St.
745 Fifth Avenue
Fotoshop, Inc., 136 W. 32nd St.
H. & D. Folsom Arms Co., 314 Broadway.
Gall » Lembke. Inc., 7 E. 48th St.
GILLETTE CAMERA STORES, INC., 117
Park Ave.
Gimbel Bros., Dept. 575, 33rd St. and Broad-
way.
Joseph P. Hackel, Rm. 1919, Chanin Bldg.,
122 E. 42nd St.
Hecker's Camera Store. 1519 Amsterdam Ave.
HERBERT & HUESGEN CO., 18 E. 42nd
St.
Leonard F. Kleinfeld, 146 West St.
Lowe & Farley, News Stand, Times Bldg.
Lugene, Inc., Optician, Main Store, 600
Madison Ave., bet. 57th and 58th Sts. Up-
town Store, 976 Madison Ave., bet. 76th and
77th Sts.
LUMA CAMERA SERVICE, INC., 302 W.
34th St.
Medo Photo Supply Corp., 323-325 W. 37th St.
Meta Photo Supply Co., 126 Liberty St.
E. B. Meyrowitz, Inc., 520 Fifth Ave.
MOGULL BROS., ELECTRIC CORP., 1944
Boston Rd.
New York Camera Exchange, 109 Fulton St.
Newman's Camera Shop, 1197 Sixth Ave.
Y. Nomi, 174 W. 95th St.
Parker and Battersby. 146 W. 42nd St.
Pickup & Brown, 368 Lexington Ave.
RAB SONS, 1373 Sixth Ave.
Schoenig & Co., Inc., 8 East 42nd St.
Frank Tanham & Co., Inc., 9 Church St.
WILLOUGHBYS, 110 W. 32nd St.
Owego: Liberty Photo Co., 34 Lake St.
Rochester: Marks & Fuller Co.. 36 East Ave.
Sibley, Lindsay & Curr Co., Kodak Dept.
Rome: Fitchard Studio, 133-135 W. Liberty St.
Schenectady: J. T. and D. B. Lyon, 236 State
St.
Syracuse: Francis Hendricks Co., Inc., 339 S.
Warren St.
Geo. F. Lindemer, 443 S. Salina St.
Troy: A. M. Knowlson & Co., 350 Broadway.
Utica: Edwin A. Hahn, P. O. Drawer 522.
Westhampton Beach: Billy's Radio Service,
Main St.
Vonkers: Joseph F. Blatzheim, 4-6 Riverdale
Ave.
IV. J. DOLEGA, 242 Nepperhan Ave.
NORTH CAROLINA
Charlotte: W. I. Van Ness & Co., 213 N.
Tryon St.
OHIO
Akron: Pockrandt Photo Supply Co., 16 N.
Howard St.
Canton: Camera Shop, in Roth & Hug's Drug
Store, Cor. 6th & Market Ave., N.
Cincinnati: Auto-Rad Supply Co., N. E. cor.
Court & Syracuse Sts.
Eastman Kodak Stores, Inc., 27 W. 4th St.
Huber Art Co., 124-7th St., W.
John L. Huber Camera Shop, 416H Main St.
L. M. Prince Co., 108 W. Fourth St.
Cleveland: Dodd Co., 652 Huron Rd.
Eastman Kodak Stores, Inc., 806 Huron Rd.
1862 E. Sixth St.
1915 E. 9th St., Union Trust Bldg.
Escar Motion Picture Service, Inc., 10008
Carnegie Ave.
Halle Bros. Co., 1228 Euclid Ave.
Higbee Co., Dept. 90, Public Square.
Home Movies Co., 2025 Euclid Ave.
Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply, 62 E. Gay St.
Home Movies Co., (Baker Art Gallery) 234
S. High St.
Don McAlister Camera Co., 73 E. State St.
Dayton: Dayton Camera Shop, 1 Third St.
Arcade.
Lima: Hunter Drug Store, Lima Trust Bldg.,
49 Public Sq.
Portsmouth : V. E. Fowler, 824 Gallia St.
Steubenville: Beall & Steele Drug Co., 424
Market St.
Toledo: Franklin Print. & Eng. Co., 226-36
Huron St.
Gross Photo Supply Co., 325 Superior St.
Youngstown: Eastman Kodak Stores, Inc., 7
Wick Ave.
A. C. Saunders, 177 Benita Ave.
Zanesville: Zulandt's Drug Store, Widney, cor.
Seventh and Main.
OKLAHOMA
Oklahoma City: H. O. Davis, 106 S. Hudson St.
Veazey Drug Co., 135-7 W. Main St.
Tulsa: Camera Shoppe, Inc., and the Charles
High Productions, 1213 S. Boulder Ave.
OREGON
Pendleton: J. T. Snelson, 608 Garden St.
Portland: Eastman Kodak Stores, Inc., 345
Washington St.
Lipman-Wolfe & Co., Kodak Dept., Fifth,
Washington & Alder Sts.
Meier & Frank Co., Kodak Dept., Fifth,
Sixth, Morrison & Alder Sts.
PENNSYLVANIA
Allentown: M. S. Young & Co., Bell & Howell,
Pathex Rep., 736-40 Hamilton St.
Easton: Easton Sporting Goods Co., Second and
Northampton St.
Erie: Kelly Studios, 1020 Peach St.
Harrisburg: James Lett Co., 225 N. 2nd St.
Johnstown: Johnstown News Co., 115 Market
St.
Lebanon: Harpel's, 757-9 Cumberland St.
Philadelphia: Camera Shop, 51 N. 52nd St.
G. P. Darrow Co., Inc., 5623-5 Germantown
Ave.
Eastman Kodak Stores, Inc., 1020 Chestnut
St.
Haussmann's Pharmacy, 6th and Girard Ave.
Home Movie Studio. 20th and Chestnut Sts.
Klein & Goodman, 18 S. 10th St.
M & H Sporting Goods Co., 512 Market St.
MacCallum Stores, 1600 Sansom St.
Newsreel Laboratory, 1707 Sansom St.
Strawbridge & Clothier, Market, Eighth &
Filbert Sts., Dept. 201.
George W. Tegan, 420 E. Mt. Airy Ave.
John Wanamaker, Dept. 56.
Williams, Brown & Earle Inc., 918 Chestnut St.
Pittsburgh: Eastman Kodak Stores, Inc., 606
Wood St.
B. K. Elliott & Co., 126-6th St.
Joseph Home Co., Magazine Dept.
Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Ave.
Reading: W. F. Drehs, 541 Court St.
Scranton : Houser's, 133 N. Main Ave.
Jermyn Bros., 205 N. Washington Ave.
Scranton Home Movies Library, 316 N.
Washington Ave.
Shamokin: Jones Hardware Co., Sporting Goods
Dept., 115 E. Independence St.
Windbe*: New Arts Feature, 508 — 15th St.
York: Sweigart's Photo Service Shop, 278 W.
Market St.
RHODE ISLAND
Pawtucket: Thomas N. Simpson, Broadway and
Exchange St.
Providence: E. P. Anthony, Inc., 178 Angell St.
Starkweather & Williams, Inc., 47 Exchange
PI.
Westcott, Slade & Balcom Co., 95-99 Empire
St.
TENNESSEE
Knoxville: Jim Thompson Co., The "Snap
Shop," 415 W. Church St.
Memphis: Memphis Photo Supply Co., 122
Union Ave.
Nashville: G. C. Dury & Co., 420 Union St.
TEXAS
Abilene: W. C. Cosby, 24y Pine St.
Dallas: Jamieson Film Laboratories, 2212 Live
Oak St.
E. G. Marlow Co,, 1610 Main St.
El Paso: Don Thompson, Inc., 308 E. San An-
tonio St.
Fort Worth: Camera Shop, Inc., 113 W. 6th
St.
Chas. G. Lord Optical Co., 704 Main St.
Houston: Star Elec. & Eng. Co., Inc., 613 Fan-
nin St.
San Antonio: Fox Co., 209 Alamo Plaza.
UTAH
Salt Lake City: Eastman Kodak Stores, Inc.,
315 S. Main St.
VIRGINIA
Bristol: Kelly & Green.
Norfolk: G. L. Hall Optical Co., 257 Granby
St.
Richmond: G. L. Hall Optical Co., 418 E. Grace
St.
(Continued on -page 580)
MOVIE MAKERS
579
I04I JEFFER/ON AVE. BROOKLYN N.Y.
=CINECRAFT SPECIALS=
Eastman Supersensitive Film, 100 ft $ 6.25
Eastman Kodacolor Film, 100 ft $7.50
Cine-Kodak Model M, r73.5 $39.75
Latest Praetos Exposure Meter $ 4.75
Rhamst.ine Film Editor $29.50
Send For New 16mm. Price List
The CINECRAFT CO., of New Eng.
80 BOYLSTON ST., BOSTON, MASS.
The 1933 Movie Makers
Binders Are Ready
You can now secure the 1933 binders
for the new year's issues of Movie
Makers I
Made of black morocco grain imitation
leather that is more durable than genuine
leather, with rounded corners to prevent
their getting bent and with a strongly built
frame, these binders will preserve the
year's issue of Movie Makers intact.
The improved Gilmer Snappin fastener
makes inserting and removing copies easy.
Stamped in gold on the back is :
MOVIE MAKERS
VOL VIII
PRICE $1.50
Binders for preceding years can be sup-
plied at the same price. In making re-
mittances please specify the year you wish.
Each year the contents of Movie
Makers are indexed and the reader who
preserves his issues in binders will have a
complete book on movie making.
AMATEUR CINEMA LEAGUE, INC.
105 West 40th St., New York, N. Y.
The Centre
of Sydney
The Social Life of the Second City of
the British Empire revolves around
this famous hotel. Delightfully con-
venient to shops, theatres and busi-
ness houses. Magnificently illustrated
booklet for tourists free on request.
Wireless Address : Austraotel, Sydney.
THE AUSTRALIA HOTEL.
The Hotel of the Commonwealth
Sydney, N.S.W., Australia.
possible unusually complete detail for
each event, adequate near shots of the
dramatic finishes which broke eleven
world and twenty Olympic records and
posed closeups of many of the leading
athletes. Slow motion sequences of div-
ing, pole vaulting, sprints and horse-
manship offer valuable studies of the
world's best in athletic form. According
to the report of Mr. Skeele, the finished
film will run a full four reels and is al-
ready being requested in duplicate from
groups in Japan, Germany, France and
other nations engaged in the Olympiad.
Rushes I The recently organized
Film Club of Buenos Aires,
Argentina, is serving the amateurs of
that city with programs of technical dis-
cussion and film criticism, according to
the report of provisory secretary, Paul
Bardin. ■ Films of outdoor life and
wild animals were featured at a late
meeting of the Philadelphia Amateur
Motion Picture Club, in Pennsylvania.
■ That film story from the funny pa-
pers, in production by the Movie Mak-
ers of Grand Rapids, has been com-
pleted and will be known as Betty Be-
have. ■ Out of the early days of ama-
teur movie club history comes the Mo-
tion Picture Club of New Haven with
a revival dinner meeting under the di-
rection of Kenneth E. Nettleton, ACL.
The Thrillproof Age was the featured
presentation for the evening. ■ Eight
millimeter movies were screened and
discussed by James Brown at the open-
ing meeting of the Bridgeport Amateur
Cinema Club, in Connecticut, according
to the report of secretary Allan M.
Foote, ACL. lAt a late meeting of
the Berkeley Amateur Motion Picture
Club, in California, the constitution
was adopted and the charter closed.
British amateurs
Leicester ■ ^ie Doubtful Quantity,
second production in six
months of the Leicester Amateur Cine
Club, has been completed by the so-
ciety and is entered in the amateur film-
ing competition now being judged by
The Era, according to the report of
E. K. Durston. At earlier meetings this
year the Leicester group have screened
their own production, Jane and The
Pageant, and have been addressed on
lenses by Mr. Martin.
Show many films
At Newcastle-
on-Tyne the
fall program meetings of the Newcastle
& District A. C. A. have featured the
screening of films from other English
societies, as follows: Exchange and
Cargoes, from Hull & District Amateur
Cine Society; The Teleprojector and
two competition films, from the West
Middlesex Amateur Cine Club; Sus-
YOU'RE A BETTER CAMERAMAN
THAN YOU THINK
When You Have the New 400 Watt
Biplane Filament AMPR0
See your black and white films in their
true super brilliance. Show your Koda-
color on a big screen and in the full glory
of its riotous color. Get a 400 watt Ampro
— the almost silent projector with a
dozen other exclusive features. Only
$175, with beautiful case.
Bargain Scoop — 100 Bargains
Write for your copy today. Here are a few of the
wonderful values contained in our December offering-
NEW $105. projector with 200 watt lamp and
case $35-
Motor driven camera and projector with case,
$94 value $35.
NEW 500 watt projector with case $125.
WOLK CAMERA CO.
219 S. Dearborn St. Chicago, 111.
Dept. MM-12
Film Rentals |£
Sales — Exchanges
— New Low Rates —
Rentals: 400 ft. reel and up 60
Sales: All 100 ft. subjects
$2.50 up $1.95
400 ft. subjects 8.00
Exchanges: 100 ft. reel 25
Send for comprehensive list of
varied and interesting subjects.
Manhattan Film Rental Library
5115 18th Ave. Brooklyn, N. Y.
M.
TITLES
, u ^ E .- ' Complete editing and titling
I YISTERJJAYJ service. (16 mm. or stand-
ard.) Cinematography.
CLARK CINE-SERVICE
203 Professional BIdg. GLendalc 0011
DETROIT, MICH.
Home Talkie Unit
This unit attached to your
Projector gives you Talkies
at Home. $13.50
See classified Advertisement on Page S30
FARRELL & BUCKMAN
364 Canal St. New York
580
DECEMBER 1932
(Continued from page 578)
WASHINGTON
Bellingham: Clyde Banks, 119 W. Holly St.
Pasco: New Pasco Drug Co.
Pullman: Graves Studio.
R. R. Huchison, Hutchison Bldg.
Seattle: Anderson Supply Co., Ill Cherry St.
Eastman kodak Stores, Inc., 1415-4th Ave.
l.ownian & Hanfortl Co., 1514-3rd Ave.
Spokane: John W. Graham & Co., Dept. C,
707-11 Sprague Ave.
Joyner Drug Co., Howard & Riverside Ave.
Tacoma: Eastman Kodak Stores, Inc., 910
Broadway.
Walla Walla: Book Nook Drug & Stationery
Store.
WEST VIRGINIA
Wheeling: Twelfth St. Garage, 81-12th St.
WISCONSIN
Fond du Lac: Huber Bros., 36 S. Main St.
La Crosse: Moen Photo Service, 313 Main St.
Madison: Photoart House, 212 State St.
Milwaukee: Boston Store, Wisconsin Ave. &
4th St.
W. E. Brown, 327 W. National Ave.
Eastman Kodak Stores, Inc., 737 N. Milwau-
kee St.
Gimbel Bros., E. Wisconsin & N. Plankington.
Photoart House of Milwaukee, 220 Wells St.
Racine: Photo-Crafts Shop, 526 College Ave.
UNITED STATES POSSESSIONS
CANAL ZONE
Ancon : Lewis Photo Service, Drawer B.
HAWAII
Honolulu: Eastman Kodak Stores, 1059 Fort
Street.
PHILIPPINE ISLANDS
Manila: Denniston, Inc., 124 Escolta.
OTHER COUNTRIES
AFRICA
Cape Province
Capb Town: Kodak (South Africa) Ltd., "Ko-
dak House," Shortmarket and Loop Sts.
Lennon, Ltd., Adderley St.
Natal
Durban: Kodak (South Africa) Ltd., "Kodak
House," 339 West St.
Transvaal
Johannesburg: Kodak (South Africa) Ltd.,
"Kodak House," Rissik St.
SOUTH AFRICA
Johannesburg: City Photo House, 52 Kerk St.
ARGENTINE
Buenos Aires: Casa America Lda., S. A., Ave-
nida de Mayo 959.
Rosario de Santa Fe: Enrique Schellhas E
Hijos, San Martin 764.
AUSTRALIA
New South \l< ales
Sydney: Filmo Stores, "Berk House," 76 Wil-
liam St.
Harringtons, Ltd., 386 George St.
Kinelab Film Service, Adams' Bldg., 484
George St., opp. Queen Victoria Market.
Kodak (Australasia) Pty., Ltd., 379 George
St.
Queensland
Brisbane: Kodak (Australasia) Pty., Ltd., 250
Queen St.
Rockhami'TOn: Kodak (Australasia) Pty., Ltd.,
East St.
Toowoomba: Kodak (Australasia) Pty., Ltd.,
Ruthven St.
Townsville: Kodak (Australasia) Pty., Ltd.,
Flinders St.
South Australia
Adelaide: Harrington's, Ltd., 10 Rundle St.
Kodak (Australasia) Pty., Ltd., 37 Rundle St.
Tasmania
Hobart: Kodak (Australasia) Pty., Ltd., 45
Elizabeth St.
Victoria
Melbourne: Charles W. Donne, 349-51 Post
Office PI.
Harringtons, Ltd., 266 Collins St.
Kodak (Australasia) Pty., Ltd., 284 Collins
St.
West Australia
Perth: Kodak (Australasia) Pty., Ltd., 662
Hay St.
CANADA
Alberta
Calgary: Boston Hat Works and News Co., 109
Eighth Ave., W.
British Columbia
Vancouver: Eastman Kodak Stores, Ltd., 610
Granville St.
Manitoba
Winnipeg: Eastman Kodak Stores, Ltd., 287
Portage Ave.
Hudson's Bay Co., Ltd., Retail Store, Dept.
230, X.
Ontario
Ottawa: Photographic Stores, Ltd., 65 Sparks
St.
Toronto: Associated Screen News, Ltd., Tivoli
Theatre ISldg., 21 Richmond St., E.
Eastman Kodak Stores, Ltd., 66 King St., W.
T. Eaton Co., Ltd., Dept. D30, 190 Yonge St.
Quebec
Montreal: Associated Screen News, Ltd., 5155
Western Ave. at Decarie Blvd.
H. de Lanauze, 1001 Bleury St.
Eastman Kodak Stores, Ltd., 286 Craig St.,
W.
886 St. Catherine St., W.
Gladwish & Mitchell, 7 Cypress St.
Home Films, Ltd., Keefer Bldg., 1440 St.
Catherine St., W.
Saskatchewan
Regina: Regina Photo Supply, Ltd., 1924 Rose
Street.
CHINA
Hong Kong: Pharmacy, Fletcher & Co., Ltd.,
26 Queen's Rd., Central.
Shanghai: Chiyo Yoko Photo Supplies, 393
Nanking Rd.
Eastman Kodak Co., 24 Yuen Ming Yuen Rd.
Standard Photo Supply Co., 381 Nanking
Road.
CZECHOSLOVAKIA
Prague: Emil Wachtl, Specialists in Cyneca-
meras, 8 and Narodni tr. 26.
DENMARK
Copenhagen: Kodak Aktieselskab, Ostergade I.
Kongsbak and Colin, Nygade 2.
S. Skotner, Amalievej 14
EGYPT
Alexandria: Kodak (Egypt) Societe Anonyme,
23 Cherif Pasha St. and Ramleh Sta.
ENGLAND
Blackburn: E. Gorse, 86 Accrington Rd.
Brighton: Stead & Co., Ltd., 18-19 Duke St.
Bristol: H. Salanson & Co., Ltd., 20 High St.
Chester: Will R. Rose, 23 Bridge St. Row.
Harrogate: A. R. Baines, 39 James St.
Kingston-on-Thames: Durbins, 24 Market PI.
Liverpool: Kodak, Ltd., 70 Lord St.
J. Lizars. 71 Bold St.
London: E. C. : Wallace Heaton, Ltd., 84
Aldersgate St.
E. C. 2: Wallace Heaton, Ltd., The Arcade,
Liverpool St.
59 Cheapside.
E. C. 3: Wallace Heaton, Ltd., 54 Lime St.
E. C. 4: Wallace Heaton, Ltd., 91-94 Fleet St.
N. 13: Camera Craft Ltd., Camera Corner,
Palmers Green.
N. W. 11: Photographia; 873 Finchley Rd„
Golders Green.
S. E. 6: A. O. Roth, 85 Ringstead Rd.,
Catford.
S. W. 1: Kodak, Ltd., 96 Victoria St.
Service Co., Ltd., 289 High Holborn.
Westminster Photographic Exchange, Ltd.,
119 Victoria St.
W. C. 1: Ensign, Ltd., Ensign House, 88-89
High Holborn.
W. C. 2: Kodak, Ltd., Kingsway.
Sands, Hunter & Co., Ltd., 37 Bedford St.,
Strand.
W. 1: Bell Howell Co., Ltd., 320 Regent
St.
J. H. Dallmeyer, Ltd., 31 Mortimer St.,
Oxford St.
Wallace Heaton, Ltd., 119 Bond St.,
47 Berkeley St., Piccadilly.
Selfridge & Co., Ltd., Dept. 109, 400 Ox-
ford St.
Westminster Photographic Exchange, Ltd.,
62 Piccadilly.
Ill Oxford St.
W. 5: Bruce's, Ltd., 28-28 A Broadway,
Ealing.
Manchester: J. T. Chapman, Ltd., Albert
Square.
Newcastle-on-Tyne: Kodak, Ltd., 32 Grainger
St.
Nottingham: Photo Supplies, Ltd., 7 Pelham St.
Sheffield: Sheffield Photo Co., 6 Norfolk Row
(Fargate).
FRANCE
Paris: M. Assemat, 95 Rue des Petits-Champs, I.
GERMANY
Berlin: Romain Talbot, Fraunhofer Str. 14,
Charlottenburg 2.
HOLLAND
Amsterdam: Capi, 115 Kalverstraat.
N. V. Foto-en Kinohandel "Lux," Nassau-
kade 361, W.
Den Haag: Capi, 124 Noordeinde.
Fotohandel Ter Meer Derval, Fred Hendrik-
laan 196.
Groningen: Capi, 3 Kleine Pelsterstraat.
Nijmegen: Capi. 13-17 van Berchenstraat.
Broerstraat 48.
Rotterdam: Bollemeijer & Brans, Korte Hoog-
straat 25.
HUNGARY
Budapest, iv: Pejtsik Karoly, Varoshaz U-4.
INDIA
Ahmedabad: R. Tolat & Co., Bawa's St.,
Raipur.
Bombay: Continental Photo Stores, 253 Hornby
Rd.
Empire Book Mart, 160 Hornby Road.
Hamilton Studios, Ltd., Hamilton House, Gra-
ham Road. Ballard Estate.
Calcutta: Army & Navy Cooperative Society,
Ltd., 41 Chowringhee St.
Photographic Stores & Agency Co., 154
Dhuramtolla St.
ITALY
Milan: Kodak Societa Anonima, Via Vittor Pi-
sani N. 6 (29).
Lamperti & Garbagnati, Piazza S. Alessandro
N. 4 (106).
JAPAN
Kobe: Honjo & Co., 204 Motomachi 6-Chome.
Kyoto: J. Osawa & Co., Ltd., Sanjo Kobashi.
Osaka: Shueisha, 25 Kitahama 4 Chome,
Higashiku.
T. Uyeda & Co., No. 4 Junkeimachi Shinsai-
bashi-suji Minami-ku.
Tokyo: Home Movies Library, No. 2, Ginza
Nishi 5 Chome, Kyobashi.
MEXICO
Mexico City: American Photo Supply Co., S. A.,
Agenda Postal. 25.. -
Casa Calpini. S. A., Av. Madero 34, Bell &
Howell "Filmo" Agency for Mexican Re-
public.
Kodak Mexicana, Ltd., Independencia 37.
NEW ZEALAND
Auckland: Kodak New Zealand, Ltd., 162
Queen St.
Christchurch: Kodak New Zealand, Ltd., 681
Colombo St.
Waterworks, Ltd., 705 Colombo St.
Dunedin: Kodak New Zealand, Ltd., 40 Prince
St.
Greymouth: L. A. Inkster, Mawhera Quay.
Hamilton: Watson's Camera House, Victoria St.
Wellington: Kodak New Zealand, Ltd., 16
Victoria St.
294 Lambton Quay.
Waterworths. Ltd., 216 Lambton Quay.
NORWAY
Oslo: J. L. Nerlien AS, Nedre Slotsgate 13.
PERU
Lima: Importaciones Americanas S. A., Antigua
Casa, Lemare & Co., Villalta 220.
SCOTLAND
Edinburgh: J. Lizars, 6 Shandwick PI.
Glasgow: Robert Ballantine, 103^4 St. Vincent
St., C. 2.
Kodak, Ltd., 46 Buchanan St.
J. Lizars, 101 Buchanan St.
SIAM
Bangkok: Prom Photo Studio, New Rd., Cor.
Chartered Bank Lane.
SPAIN
Barcelona: Catalonia S. A., Ronda San Pedro 3.
Madrid: Kodak Sociedad Anonima, Puerta del
Sol 4.
Avenida Conde de Penalver 21.
STRAITS SETTLEMENTS
Penang: Kwong Hing Cheong, lc Penang St.
Singapore: Amateur Photo Store, 109 N. Bridge
Rd.
Y. Ebata & Co., 33 Coleman St.
Kodak, Ltd., 130 Robinson Rd.
Singapore Studio and Photo Co., 39 High St.
SUMATRA
Medan : Y. Ebata & Co., 69 Kesawan.
SWEDEN
Stockholm: A. R. Nordiska Kompaniet, Photo-
graphic Dept.
SWITZERLAND
Basel: Wilhelm Dierks, Freiestrasse 74 (So-
deck).
H. Strubin & Co., Cine Service, Gerbergasse
25.
Geneva: Kodak Societe Anonyme, 11 Rue de la
Confederation.
Lewis Stalder (Photo-Hall), 5 Rue de la
Confederation.
Zurich: Ganz & Co., Bahnhofstrasse 40.
M. M. Gimmi & Co., Haus zur Sommerau-
Stadelhoferplatz.
Zulauf and Co.. Bahnofstr, 61.
Winterthur: Alb. Hoster, Marktgasse 57.
$3 a year (Canada, $4.00,
Foreign, $3.50) ; 25c a copy
Dealers Listed In Black Face Italics Are Advertisers In
MOVIE MAKERS
105 West 40th Street
New York City
MOVIE MAKERS
581
pects and Folkestone, Gem of the Kent-
ish Coast, from B. R. Billings; A Trip
to Scotland, A Tour around Newcastle,
Changing of the Guard and The DO-X,
from George G. Cranston; What a
Dog's Life!, from Mrs. R. MacGregor;
Sporting Times, from Bolton Amateur
Cine Association; The Eaton Affair,
from Dundee Cine Society.
Study ■ Recently organized, the Kil-
burn & Brondesbury Ama-
teur Movie Society is concentrating on
the study of interior lighting and film-
ing and on the possibilities of amateur
sound recording, in accord with the re-
port of secretary C. W. Dickins. At the
general organization meeting unusual
travel films of San Sebastian and of the
Mediterranean were projected respec-
tively by A. Frischmann and D. Gold-
foot. A club production is planned.
Rapid progress ■ Not quite two
years old, the
Southgate Cine Society, in London, has
to its credit two completed photo-
plays— Fugitive and Popular Family —
a number of newsreels and is now ac-
tively at work on a feature length film,
Experiment, according to the report of
secretary F. S. Neill. Ronald Farrow
and Mr. Neill will direct this produc-
tion from a scenario of their own writ-
ing, while L. Ball will be chief camera-
man and technical director with the as-
sistance of H. Apsden and Ken McGil-
vray; Lila Wittich will be in charge of
continuity and Thomas Child of make-
up. Others of the society taking part in
the production in leading roles will be
Daphne Dorner, Peggy Sutherland,
Reggie Green, Ian Douglas, Norman
Axford and E. Culverwell.
Few do much ■ Consisting of but
six members, Foot-
light Motion Pictures, with headquar-
ters in London, already has two com-
pleted films to its credit and is at work
on a third. Footlight Pictorial, a 300
foot newsreel, features a record of the
R. A. F. air pageant and a study of pot-
tery making among other things, while
a 400 foot photoplay, Nemesis, tells a
story of mystery and revenge in which
Hermione Wade and Raymond Southey
play the leading parts. T. A. Southey
was in charge of photography on this
film, as he will be on the present produc-
tion of Madam Fantasky, a comedy
centering around a "fake" spiritualist's
meeting.
Featured releases
■ This department is for the convenience of
readers in guiding them to library films an-
nounced in this issue. These films, in the main,
have not bee?i examined by Movie Makers.
■ Bell & Howell Co., Chicago, 111. The Filmo
catalog: lists a great variety of attractive subjects
including sport, travel and educational features.
■ Eastin Feature Films, Galesburg, 111. Some
of the rental films offered by this company are
In Old Granada and Fire Walkers of Beqa, Bur-
ton Holmes Travel films, The Hut in the Forest,
a Grimm Fairy Tale, July Days, an Our Gang
Comedy, Oswald the Lucky Rabbit cartoons and
Felix cartoons in one reel; Grand-pa's Boy with
"Big Boy," Sundown Limited, an Our Gang Com-
edy, Soup to Nuts and Navy Blues, both Christie
Comedies, and a series of "The Collegians," col-
lege comedy dramas, all in two reels; Skyscraper
with William Boyd, Alan Hale, Sue Carol and
Alberta Vaughan, Taxi, Taxi with Edward Ever-
ett Horton, Marian Nixon, Lucien Littlefield and
Edward Martindel and The Spanish Dancer with
Pola Negri, Antonio Moreno, Adolphe Menjou
and Wallace Beery, all feature length subjects.
In addition, The Phantom of the Opera, ten reels,
and The Hunchback of Notre Dame, eight reels,
those two outstanding films featuring the late
Lon Chaney, are offered.
| Eastman Kodak Co., Rochester, N. Y. The
latest Cinegraph releases include up to date com-
edies with popular actors.
■ Empire Safety Film Co., Inc., New York
City. This company will be glad to send you a
catalog which includes comedies, scenics, sports
and educationals.
■ Gerke, Frederic L., New York City. The fea-
tured Pathegram this month is Our Gang's
Christmas. Other Our Gang Comedies are Break-
ing hito the Movies, Making Their First Movies,
Some Pirates and The Barber Shop. Aesop's
Fables include Good Old School Days, African
Jungle Hunt, Deep Sea Divers and Haunted Ship.
Grantland Rice Sportlights are Frolics of Frost,
River Drivers, Lion Athletics and Modern
Mermaids, all on 109 foot reels. Pathe-
grams also offer 50 foot subjects which have an
Our Gang Comedy and an Aesop's Fable on the
same reel. These are The Picnic and African
Hu?itsman, All Aboard and The Animal's Fair,
Human Hoop and The Organ Grinder, Ingenious
Musician and One Game Pup, Big Game and
Bigger and Better Jails, Youthful Kidds' and
An Ideal Farm, A pprentice "Smithy" and Fisher-
ma?i's Luck, Speed Demon and The Enchanted
Fiddle, Hide and Seek and One Hard Pull, Wash
Day and The Body in the Bag, Caught and The
Champion and Baby Brother and The All Star
Cast. A Christmas special including Our Gang
and an Aesop's Fable is Christmas Window
Shopping.
| Gillette Camera Stores, Inc., New York
City. Offered on a new rental plan, an unusual
collection of sound on disc films in single and
multiple reel features are presented by this com-
pany, in addition to their silent library.
■ H. C. Film Service, Detroit, Mich. Fairyland
Parade, a film staged by the J. L. Hudson Com-
pany of Detroit starring Santa Claus, is the fea-
ture release of this company for December.
■ Hemenway Film Co., Boston, Mass. The re-
ligious film, The Passion Play, 2000 feet, 16mm.,
featured by this company should be particularly
appropriate for the coming celebration season of
the birth of Christ.
■ Haselton, Guy D., Hollywood, CzWl.Let' s See
Yosemite is the feature this month of this maker
of exquisite scenics.
■ Kodascope Libraries, Inc., New York City.
December releases are Stand and Deliver with
Rod La Rocque, Lupe Velez and Warner Oland;
All Night Long with Harry Langdon; The Bull
Fighter with Billy Bevan and Eddie Quillan.
■ Manhattan Film Rental Library, Brooklyn,
N. Y. A list of interesting subjects of varying
lengths for rental or sale is offered by this com-
pany.
■ Mogull Bros., New York City. This dealer
has an extensive list of films to offer, both silent
and sound on disc.
■ J. Navilio, Brooklyn, N. Y. A new rental
service of both silent and sound on disc films has
been inaugurated for people within a 2000 mile
radius of New York. Some of the features are
His Lucky Day with Ken Maynard, See America
Thirst with Slim Summerville, Tonight at Twelve
with Madge Bellamy and The Last Performance
with Conrad Veidt.
■ Parry Film Co., Los Angeles, Calif. This
company offers 100, 200 and 400 foot lengths of
the Tenth Olympic Games at Los Angeles as well
as Hollywood Stars on Parade, a film of the stars
attending previews of the two outstanding pictures,
Grand Hotel and Strange Interlude. A 200 foot
film of the Wild West Rodeo at Los Angeles
Olympic Stadium is also offered.
H Willoughbys, New York City. Good sport
subjects are listed by this dealer as well as many
feature length films with outstanding stars of
the professional field.
FILMADOR
The intrinsic value of Filmador and
more especially its life-time lasting
quality will constantly reflect the
spirit of its donor. . . . Filmador con-
serves the moisture content of film,
preserves its pliability, protects it
against quick changes of tempera-
ture and renders it impervious to
the action of grit and dust. Filma-
dor is a scientifically constructed
film humidor consisting of two
heavy aluminum containers, one
within the other, with a half inch
dead air space in between. The in-
ner container is humidified and ac-
commodates 3-400 foot reels of
16mm. film. It is obtainable at all
dealers.
Price: $5.00
Literature on Request
BELL & HOWELL CO.
1843 Larchmont Ave.,
Chicago, III.
Wear a Beltipod—
Don't Lug a Tripod !
The handiest substitute for a tripod — ■
An excellent Xmas gift.
See your dealer NOW
WM. J. GRACE, ACL
Kirby Bldg. Dallas, Tex.
SAFETY FILM
16MM. DAYLIGHT LOADING
Semi-Chromatic Film, 100 Ft $3.75
Gray Back Supersensitive Pan., 100 Ft $5.50
These prices include free processing, which
provides you with a Negative and a Positive
print, Parcel Post prepaid.
Send for samples and particulars
Straube Film Laboratory llh%FelZ%^:
E
D
VACATION DAYS
■akMMbCW
G
DISTINCTIVE ART TITLES
Original and photographic backgrounds, printed or hand
lettered, 25c up. Samples free. Complete production
of 16mm. industrial, dental and travel films. Correspond-
ence invited. Photography and editing. Member ACL.
W. STUART BUSSEY
814 N. Meridian St. Lincoln 1207, Indianapolis, Ind.
STAND and DELIVER
Featuring Rod LaRocque, Lupe Velez and 'Warner Oland
A marvelous tale of thrilling adventures when a world-war hero undertakes to capture a Macedonian bandit. Rod rescues Lupe from one bandit
band, but they are both captured and taken to the inaccessible mountain stronghold of the bandit chief, who proceeds to fall in love with Lupe. Plots,
escapes, captures, fighting, fleeing, and ardent love-making make this one of the most adventurous romances. It is recommended without reservation
to all audiences. Five reels. _
These are only three of nearly 500 subjects available from our Branch Libraries
and Distributors in fifty of the leading cities of the United States and Canada
NEW ILLUSTRATED DESCRIPTIVE CATALOGUE
FIFTH EDITION— 214 PAGES
contains 111 new subjects, drops many of the older ones and reduces
rentals of many others. 411 reels at average rental of less than $1.00
each! Average rental entire library (nearly 900 reels) only $1.16 each.
You can rent twenty to forty reels for the cost of one !
ATTRACTIVE PROPOSITION
to Dealers who desire Profits from operation of
their own Film Rental Libraries. Our Experience
and Resources assure the Success of our Distribu-
tors. No Risk. Send for booklet How the Koda-
scope Library brought Prosperity to our Store.
Also Catalogue of
KODASCOPE 8 LIBRARY
Is Ready for owners of the new 8mm. equipment — at lower cost than 16mm.
KODASCOPE LIBRARIES, Inc.
33 WEST 42nd STREET, NEW YORK
Subsidiary of Eastman Kodak Co.
ALL NIGHT LONG
Harry's troubles begin with the World War and continue in peace
times, as he runs across his former sergeant as a successful burglar.
The sergeant's sweetheart falls in love with Harry which adds comical
complications. Two reels.
THE BULL FIGHTER
Billy Bevan and Eddie Quillan are two tramps who promptly get
into trouble. In trying to escape from the sheriff in feminine attire, they
run into a bull pen, with disastrous but hilarious results. A toreador
with his cape has nothing on Billy in his skirts. Two reels.
Biggest News of the Christmas Season
Cin£-Kodak Eight $2950
Model 20
cuts film cost nearly %
'TVHIS Christmas make home movies
your gift of gifts. Eastman has made
it easy and inexpensive . . . with Cine-
Kodak Eight, Model 20, for only $29.50
... a genuine, full-fledged home movie
camera fitted with a Kodak Anastigmat
/.3.5 lens, built-in exposure guide, auto-
matic footage indicator, and eye-level
finder.
Cine-Kodak Eight loads with a special
25-foot film, 16mm. wide. It runs the
film past the lens twice, leaving two
rows of images along its full length.
Eastman finishes this 25-foot roll, slits it,
splices it, and returns it as a single 50-
foot length, 8mm. wide — ready to
project in Kodascope Eight. For $2.25
you get movies that last as long on the
screen as the usual 100-foot roll at $6.
Give home movies with Cine-Kodak
Eight, Model 20 . . .in its attractive
gift box.
Eastman Kodak Company
NOW—
A New Eight With 1.1.9 Lens
A new Cine-Kodak Eight . . . the
Model 60 ... is equipped -with a Kodak
Anastigmat f.1.9 lens, which is in-
stantly interchangeable with an f.4.5
\y<l inch telephoto lens supplied as ex-
tra equipment. A beautifully finished
photographic instrument, its price,
including carrying case, is $79.50.
Kodascopes Eight are priced at
$22.50, $34.50, and $75. Your dealer
will gladly show them to you.
ROCHESTER, NEW YORK
Printed by WNU, New York
I"
'
1. 1-LlVX \J for only the finest will do
ONLY once does baby learn to walk,
only once will Junior have a sixth
birthday, only once can we take movies of
each trip, each vacation. The moment is too
precious to lose. We must have the movie
camera that's always dependable, and always
able to catch the movie, whatever the
photographic condition. That's why I de-
cided on a Filmo."
Thus does the careful movie-maker explain
his choice of the family's Christmas gift.
And it is a wise choice. Bell & Howell, maker
of Filmo, years ago introduced personal
movies, giving them the excellence and the
versatility for which Bell & Howell profes-
sional movie making equipment is so famous.
Go where you will, you'll find Filmo the
choice of knowing movie-makers, sports-
men, explorers, statesmen and royalty. These
people, who demand the best, logically se-
lect Filmo.
The Filmo 70-D Camera is of startling sim-
plicity in operation, but versatile as any pro-
fessional cameraman could wish. It has a
three-lens turret, seven film speeds (4 to 64
frames a second), and a built-in variable
viewfinder matching lenses of six focal
lengths. The famous Cooke lens is standard
equipment. The Filmo 70-DA comes with
built-in Critical Focuser at slight added
cost. Nowhere else in 16 mm. equipment can
you find the precision, coupled with exact
scientific design, that you find in Filmo. The
Filmo 70-D, in beautiful Sesamee-locked May-
fair case, comes at $245 and up. Other Filmo
Cameras at $92 up. B & H pays the Federal
tax. See your dealer today or mail coupon.
Filmo JL Projector
The Filmo JL Projector, driven
wholly by gears, is the outstand-
ing accomplishment in the art of
16 mm. projection. Its powerful
400-watt illumination gives the-
ater-quality pictures, and the-
ater-size when required. It has
an automatic power rewind,
pilot light for easy threading, a
novel tilting device, a score of
refinements. With case, $298.
Other Filmo Projectors, $135 up.
4 BELL & HOWELL i FILMO*
■ ■ Personal Movie Cameras and Projectors—
Bell & Howell Co., 1843 Larchmont Ave., Chicago, 111. (New York, Hollywood, London [B & H Co., Ltd.] Established 1907)
Gentlemen: Please send me complete literature on Filmo Personal Movie Cameras and Projectors.
Name.
Address
City
PROFESSIONAL
RESULTS WITH
State
AMATEUR
EASE
LIBRARY OF CONGRESS
ill III Hi Hi Hi! II in iiiliili JMlH
0 007 552 270 8
Live Music
Archive
Librivox
Free Audio
Metropolitan Museum
Cleveland
Museum of Art
Internet
Arcade
Console Living Room
Open Library
American
Libraries
TV News
Understanding
9/11